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, The Musical Times, The Wagner Journal, Wagner Notes, and the Interdisciplinary Journal of Decadence Studies (“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 the Marx & Philosophy Review of Books, and has translated academic papers. He has also contributed numerous entries in The Cambridge Wagner Encyclopedia (Cambridge University Press, 2013) and The Cambridge Stravinsky Encyclopedia, eds. Edward Campbell and Peter O’Hagan (forthcoming 2020) [for further details, see under Publications]. He is a board member of the Royal Musical Association Music & Philosophy Study Group: https://musicandphilosophy.ac.uk.
Jeremy is interested in supervising postgraduate research including at doctoral level. Please get in touch if you would like to carry out research projects in any of these areas.
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. 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., 2013. various 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., MPhil thesis in Musicology, ‘The Early Transmission and Reception of Boethian Music Theory in Medieval England’. MPhil edn. unpublished: University of Cambridge.
I am currently working on three main research projects, all of which build in different ways on the empirical and theoretical research in my book Richard Wagner in Paris:
Translations from the Francophone Musical Archive
– 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
