Dr Jonathan Hicks

Dr Jonathan Hicks
BMus, MSt, DPhil

Lecturer

I am currently accepting PhDs in Music.

Overview
Dr Jonathan Hicks
Dr Jonathan Hicks

Contact Details

Telephone
work +44 (0)1224 274537
Email
Address
The University of Aberdeen School of Language, Literature, Music and Visual Culture
University of Aberdeen
King’s College
Aberdeen AB24 3UB
Scotland, UK
 
Office: MacRobert Building, 123
Online student hours: Tuesdays 09:00 - 10:00 and Wednesdays, 11:00 - 12:00 (email me to arrange a meeting)

Biography

I grew up in a village outside York (North Yorkshire) and took my undergraduate degree in music at the University of Birmingham. I spent a year working in creative education and arts admin before starting a masters in musicology at the University of Oxford. I stayed at Oxford for my doctoral studies, where I wrote my dissertation on “Music, Place, and Mobility in Erik Satie's Paris” under the supervision of Peter Franklin. I then held a Junior Research Fellowship at Lincoln College, Oxford, which led to a postdoctoral post on the European Research Council project, Music in London, 1800-1851, directed by Roger Parker at King’s College London. I began moving back north with a fellowship at Newcastle University's Humanities Research Institute before joining the University of Aberdeen in 2019 as a lecturer in music.


Qualifications

DPhil, Music University of Oxford 2013
MSt, Musicology University of Oxford 2007
BMus, Music University of Birmingham 2005

Memberships and Affiliations

Internal

I convene the Music Research Seminars and welcome suggestions for speakers. I'm also a member of the Centre for the Novel, the Walter Scott Research Centre, and the utterly wonderful LLMVC nineteenth-century peer support group led by Sarah Sharp.

I'm on a couple of LLMVC committess, for Athena SWAN and postgrauate studies. The latter reflects my role as programme director for the MMus in Music (please get in touch if you're thinking of applying).

At a University level, I'm on the (currently dormant) Research and Commercialisation Spaces Group as well as the (still active) Museums and Special Collections Academic Forum.

As a committed trade unionist, I'm delighted to be the Department of Music representative for the University and College Union (UCU). Drop me a line if you'd like to know more about UCU. Or, if you're already a member, let me know if you'd like to discuss any work-related issues. 

 

 

External

I'm a co-director of the Institute for Musical Research (IMR). If you visit the IMR site you'll see that, as of September 2020, the Institute is being run by a consortium including the University of Aberdeen. We'll be updating the website in due course. In the meantime, please get in touch if you have any questions about the work of the IMR.

I convene a working groups on equality, diversity, and inclusion in higher education beyond music studies for the Equality, Diversity, and Inclusion in Music Studies (EDIMS) Network. I'm also a member of the EDIMS working group for parenting and caring.

In terms of learned societies, I'm a member of the Royal Musical Association, but I should stress that I'm no fan of royalty and plan to write something about that soon. I'm also usually a member of the American Musicological Association, though my membership has lapsed now and then.

Research

Research Areas

Please get in touch if you would like to discuss your research ideas further.

Email Me

Specialisms

  • British History
  • History of Music
  • Musicology
  • Theatre Studies
  • Urban Studies

Our research specialisms are based on the Higher Education Classification of Subjects (HECoS) which is HESA open data, published under the Creative Commons Attribution 4.0 International


Research Overview

Much of my work is concerned with the criss-crossing of musical and urban histories in the nineteenth and twentieth centuries - especially, though not exclusively, in big cities like Paris and London. I like to approach the music of the past via the places and spaces with which it was commonly identified. This might mean paying close attention to particular sites of performance (Italian opera is a different beast when taken out of the theatre and into the street, for instance) or it might mean asking how music contributed to the (often multi-media) evocations of particular territories or landscapes. I'm also interested in the history of how music and musicians travel and adapt. The notion of cultural mobility is central to The Melodramatic Moment, a collection of essays that I edited with Katherine Hambridge (Durham) as well as my first monograph (in preparation), Music on the Move in Victorian London. If any of this is up your street, do get in touch. 

You can find deatils of some of my published research on my Academia.edu profile page.


Current Research

As well as working on my monograph (see above) I currently have a few essays in the pipeline: one is about the curious history of promeande concerts and indoors fountains (for a special issue on music and the environment in the nineteenth century); another is about resonance, fame, and Fingal's Cave (for a book on sound and sense in Britain, 1770-1830); another is about the Victorian travels of the "Old Hundredth" psalm (for a book on music and the Bible in the British nineteenth century); lastly, I'm writing a review article entitled "Opera History, the Travel Edition," which deals with a range of issues in the study of operatic sound (and stuff) on the move.  

Longer term, I plan to write study of sound and music in the early town planning movement (mainly in Britain, from the late-nineteenth to the early-twentieth century). I also aim to publish something on the history of musical cartography (see the section on grants below).


Past Research

I was a founder member of the Hearing Landscape Critically research network, which brought together scholars and practitioners from various fields between 2012 and 2016 to address the significance of sound in landscape and the role of landscape in shaping our understanding of music.


Collaborations

I am co-director of The London Stage Project led by Michael Burden (New College, Oxford), which hosts a biannual conference on The London Stage and the Nineteenth-Century World; the next instalment is 16-18 April 2020. In previous years we have curated a major exhibition on Staging History, 1780-1840 (2016-2017) and published a volume of essays (also titled Staging History, 1780-1840) on the phenomenon of historical drama in Britain and the United States. We are currently preparing to launch a digital calendar of performances in London theatres, 1800-1844, which will be freely accessible via the Oxford Digital Library when it goes live some time in 2020.

I am a member of the editorial collective of the journal Radical Musicology and the editorial board of the Cambridge Elements series Music and the City. I am also a board member of the newly-formed Nineteenth-century Experimental Song Collective (web link forthcoming).


Supervision

My current supervision areas are: Music.


I'm first supervisor for:

  • Ignasi Solé Piñas's study of the performance and recording history of Beetoven's cello sonatas. 

I'm second supervisor for:

  • Ben Ponniah's creative practice portfolio of choral compositions;
  • Daniel Collins's study of the influences of the Edda and the Heimskringla on Norwegian Composers in the nineteenth century; and 
  • Claudia Falcone's study of women and domestic music in early 19th century Britain.

 

 

 

Women and domestic music in early 19th century Britain


Research Funding and Grants

I am Principal Investigator for an for an AHRC research network on Mapping Music History (2019-2020). As the network gather steam we will be posting blogs and resources to musicalgeography.org, a site run by my co-investigator Louis Epstein (St. Olaf College). 

 

Teaching

Courses


Teaching Responsibilities

I'm programme director for the MMus in Music. If you're a current MMus student, please feel free to conatct me with any questions or concerns. If you're thinking of applying to the MMus, drop me a line and we can discuss your options.


Non-Course Teaching Responsibilities

I currently have 22 undergraduate personal tutees as well as the 17 postgraduate taught students on the MMus. It's always a pleasure to hear from person tutees so, if that includes you, please do get in touch whenever you'd like a chat. 

Publications

Publications 

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  • The London Stage Calendar 1800-1844: Part I: 1800 to 1832

    Hicks, J., Burden, M.

    Bodleian Library (Website).

    Other Contributions: Other Contributions

  • [Review] Rachel Mundy, Animal Musicalities: Birds, Beasts, and Evolutionary Listening (Middletown, CT: Wesleyan University Press, 2018).: Birds, Beasts, and Evolutionary Listening

    Hicks, J.

    Twentieth-Century Music, vol. 17, no. 1, pp. 119-124

    Contributions to Journals: Review articles

  • Cockney Masquerades: Tom and Jerry and Don Giovanni in 1820s London

    Hicks, J.

    Operatic Geographies. Aspden, S. (ed.). University of Chicago Press, pp. 74-87, 14 pages

    Chapters in Books, Reports and Conference Proceedings: Chapters (Peer-Reviewed)

  • The Melodramatic Moment

    Hicks, J. E., Hambridge, K.

    The Melodramatic Moment. Hambridge, K., Hicks, J. (eds.). University of Chicago Press, pp. 1-24, 24 pages

    Chapters in Books, Reports and Conference Proceedings: Chapters (Peer-Reviewed)

  • The Melodramatic Moment: Music and Theatrical Culture, 1790–1820

    Hambridge, K. G. (ed.), Hicks, J. (ed.)

    University of Chicago Press, Chicago. 288 pages

    Books and Reports: Books

  • Erik Satie and the Subject(s) of Mobility

    Hicks, J.

    Music, Modern Culture and the Critical Ear. Attfield, N., Winters, B. (eds.). Routledge, pp. 75-90

    Chapters in Books, Reports and Conference Proceedings: Chapters (Peer-Reviewed)

  • Another Case of 'Le Cas Satie'

    Hicks, J.

    Ars Lyrica: Journal of Word-Music Relations, vol. 23, no. 1, pp. 90-96

    Contributions to Journals: Review articles

  • Introduction: Music and Landscape

    Hicks, J. E., Uy, M., Venter, C.

    Journal of Musicology, vol. 33, no. 1, pp. 1-10

    Contributions to Journals: Articles

  • Should Manrico Escape?: Verdi, “Ah, che la morte ognora” (Manrico), Il trovatore, Act IV (1853)

    Hicks, J. E.

    Cambridge Opera Journal, vol. 28, no. 2, pp. 187-190

    Contributions to Journals: Articles

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