Jeremy Coleman joined the Department of Music Studies, School of Performing Arts, University of Malta, as a full-time Lecturer in Music in September 2020. Before that, he taught part-time in the Music Department at the University of Aberdeen while pursuing a freelance career as a collaborative pianist. He took 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 The Wagner Journal (Heath Lees), The Musical Times (Arnold Whittall), Choice (Brian Doherty), Wagner Notes (Peter Bloom), Die Musikforschung (Stephanie Schroedter), Volupté: Interdisciplinary Journal of Decadence Studies (Michael Craske) [open access: https://volupte.gold.ac.uk/translation], Opera (Chris Walton), Transposition: Musique et Sciences Sociales (Jennifer Rushworth) [open access: https://journals.openedition.org/transposition/5503], Opera News (David J. Baker), and Notes (Woodrow Steinken) ('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 Music & Letters, 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.

Further internal roles: Area Director in Research, School of Performing Arts, University of Malta (as of March 2022)

I supervise Christopher Muscat's DMus in Composition ('The Making of an Opera: Completing Joseph Vella's Valeriana') and I am accepting Doctoral students. Anyone interested in discussing the possibility of a doctoral research degree in any of my areas of interest, should get in touch!

Beyond my specialism in Wagner, I am exploring further research areas including critical historiography, legacies of modernist music theatre, translation in music and music criticism, and the relations between translation, arrangement and performance.

Book chapters in preparation:

- ‘Champfleury on Wagner’s Paris Concerts (1860): Polemic or Prose Poem?’, *Reading Texts in Music and Literature of the Long Nineteenth Century*, eds. Katharine Ellis and Phyllis Weliver (volume in preparation);

- '"Choreographed for Piano and Two Hands": On Petrushka's Survival', *Bodies and Sounds in Motion*, ed. Stephanie Schroedter (volume in preparation).

Ongoing research and collaboration:

- English translation of Jarosław Iwaszkiewicz's Musical Short Stories in collaboration with Dr Jan Czarnecki (University of Cologne);

– edition and English translation of the scenes added or expanded by Richard Wagner in his French prose adaptation of his second opera Das Liebesverbot;

– a critical, hybrid edition and English translation of the influential Wagner articles by the Belgian critic and musicologist François-Joseph Fétis, in collaboration with Dr Adeline Heck (Beijing Normal University, Zhuhai).

I also provide musicological assitance to Robin Rollinger's translation of Carl Stumpf, Tone Psychology, Vol. 1: The Sensation of Successive Single Tones (Routledge, 2019); Tone Psychology, Vol. 2 (in preparation).