Dr Jeremy Coleman

Dr Jeremy Coleman

Dr Jeremy Coleman



Room 131
Old Humanities Building
University of Malta
  +356 2340 6517
Jeremy Coleman joined the Department of Music Studies, School of Performing Arts, University of Malta, as Lecturer in Music in September 2020. Before that, he was based in Aberdeen (UK), lecturing on a part-time basis in the Music Department at the University of Aberdeen and concurrently (for a term in 2017-18) in the Department of Comparative Literature, King’s College London. During this time, he also pursued a freelance career as a collaborative pianist, specialising in art song and chamber music repertoire. He received degrees in Music (BA Hons) and Musicology (MPhil) from Clare College Cambridge in 2010 and 2011, and a PhD in Musicology (on Wagner and Paris) from King’s College London in 2016.

Dr Coleman is a musicologist and performer with wide interests in research and teaching which centre on music and social theory, performance, criticism, and music historiography. His first book _Richard Wagner in Paris: Translation, Identity, Modernity_ appeared with Boydell & Brewer in 2019 and has been reviewed in Die Musikforschung, Notes, The Musical Times, The Wagner Journal, Wagner Notes, Choice, Opera, Interdisciplinary Journal of Decadence Studies, and Transposition (“Original, valuable and highly absorbing, especially where it unpacks new and exhilarating discourses from fields other than musicology...a fascinating story” THE WAGNER JOURNAL).

He has published articles and book reviews in journals including Current Musicology, The Wagner Journal, The Chopin Review, and Marx & Philosophy Review of Books, and has translated academic essays. He has also contributed numerous entries in _The Cambridge Wagner Encyclopedia_, ed. Nicholas Vazsonyi (Cambridge University Press, 2013) and _The Cambridge Stravinsky Encyclopedia_, eds. Edward Campbell and Peter O'Hagan (2021) [for further details, see under Publications]. He is a peer reviewer for Cambridge Opera Journal, and a board member of the Royal Musical Association Music & Philosophy Study Group: https://musicandphilosophy.ac.uk.
  • Opera and Music Theatre, especially Wagner
  • Music Historiography
  • Music Criticism
  • History of Music Theory
  • Critical/Social Theory
  • Translating and Editing
  • Performance

COLEMAN, J., 2021. 32 entries: Bach, Johann Sebastian; Bartok, Bela; Beethoven, Ludwig van; Canon for Two Horns; Canon on a Popular Russian Tune; Capriccio, for piano and orchestra; Circus Polka; Divertimento; Double Canon for String Quartet; Duet for Two Bassoons, 'Lied ohne Name'; Elegy for J. F. K.; Epitaphium; Fanfare for a New Theatre; Four Songs; Four Studies for orchestra; Germany, Stravinsky and; Hartmann, Karl Amadeus; Henze, Hans Werner; Krenek, Ernst; Lullaby, for Two Recorders; Mahler, Gustav; Mann, Thomas; Nielsen, Carl; Pastorale; Petit Ramusianum harmonique; Pour Pablo Picasso; Suite No. 1 for small orchestra; Suite No. 2 for small orchestra; Strauss, Richard; Tango for piano solo; Wagner, Richard; Weill, Kurt. In: E. CAMPBELL and P. O'HAGAN, eds, The Cambridge Stravinsky Encyclopedia. Cambridge University Press, pp. 26.

COLEMAN, J., 2021. Redemption from the Redeemer? Review Article on Roger Scruton and _Wagner's Parsifal_. The Wagner Journal, 15(1), pp. 50.

BORCHARD, B., 2020. Chapter 6: ‘The Concert Hall as a Gender-Neutral Space: The Case of Amalie Joachim, née Schneeweiss’, translated by Jeremy Coleman. In: N. LOGES and L. TUNBRIDGE, eds, German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries. Bloomington, Indiana: Indiana University Press, pp. 132.

COLEMAN, J., 2019. ‘Found in Translation’: Review of Richard Wagner, The Ring of the Nibelung, trans. John Deathridge The Wagner Journal, 13(1), pp. 82.

COLEMAN, J., 2019. “in ein fernes Land”: The Politics of Translation in Wagner’s Arrangement of Gluck’s Iphigénie en Aulide. The Wagner Journal, 13(2), pp. 28.

COLEMAN, J., 2019. Review of Naomi Waltham-Smith, Music and Belonging Between Revolution and Restoration, and Daniel K. L. Chua, Beethoven and Freedom. Marx and Philosophy Review of Books, , pp. online.

COLEMAN, J., 2019. Richard Wagner in Paris: Translation, Identity, Modernity. Woodbridge, Suffolk: The Boydell Press.

COLEMAN, J., 2018. Review of David Frick, trans., Chopin’s Polish Letters. The Chopin Review, 1, pp. 112.

COLEMAN, J., 2017. ‘The Body in the Library’: Review of Richard Wagner Sämtliche Werke. The Wagner Journal, 11(3), pp. 86.

COLEMAN, J., 2013. 15 entries: Brangäne; Braune Buch, Das; Breitkopf & Härtel; Cooke, Deryck; Donington, Robert; Glasenapp, Carl Friedrich; Huldigungsmarsch; Kaisermarsch; Kurwenal; Projects; Sämtliche Werke; Stage Works, Incomplete; Symphony in C Major; Westernhagen, Curt von; Works, Lost. In: N. VAZSONYI, ed, The Cambridge Wagner Encyclopedia. Cambridge: Cambridge University Press, .

COLEMAN, J., 2013. Review of Eva Rieger, Richard Wagner's Women, trans. Chris Walton, and Laurence Dreyfus, Wagner and the Erotic Impulse. Current Musicology, 96, pp. 125.

COLEMAN, J., MPhil thesis in Musicology, ‘The Early Transmission and Reception of Boethian Music Theory in Medieval England’. MPhil edn. unpublished: University of Cambridge.

  • MSP1153 - Vocal Ensemble 1
  • MSP1253 - Vocal Ensemble 2
  • MSP1262 - History of Music: Classical Period to Twenty-first Century
  • MSP1265 - Fundamentals of Music 1
  • MSP1269 - History of Music: Classical Antiquity to Baroque
  • MSP1277 - Basic Keyboard Proficiency
  • MSP2130 - Fundamentals of Music 2
  • MSP2153 - Vocal Ensemble 3
  • MSP2155 - Areas of Study in Musicology and Ethnomusicology
  • MSP2253 - Vocal Ensemble 4
  • MSP3153 - Vocal Ensemble 5
  • MSP3253 - Vocal Ensemble 6
  • MSP5800 - Music Research Methods
  • PFA2005 - Performance and Philosophy
  • PFA5002 - Researching Performance
I am currently engaged in research projects which build on my book *Richard Wagner in Paris*:

'Translations from the Francophone Musical Archive' - supported by the University of Malta Research Seed Fund (April 2021)

– annotated edition and English translation of the scenes added by Wagner in his French prose adaptation of his second opera Das Liebesverbot, based on the documentary volume edited by Egon Voss (Schott, 2019)

– in collaboration with Adeline Heck, a critical edition and English translation of the influential Wagner articles by the Belgian critic and musicologist François-Joseph Fétis

'Dream Images of Musical Production'

– a historical materialist analysis of musical and operatic production c. 1830-1860, with a focus on Paris