Jeremy Coleman is Resident Lecturer in Music in the Department of Music Studies, School of Performing Arts, University of Malta, and Area Director in Research for the School of Performing Arts. He is a musicologist and performer with interests in research and in teaching on various topics but centred on 19th-century musical repertoire and culture. He has taught at the University of Aberdeen, University of Cambridge, and King's College London, and has worked extensively 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 from King’s College London in 2016.
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 (2013) and *The Cambridge Stravinsky Encyclopedia*, eds. Edward Campbell and Peter O'Hagan (2021). He has peer-reviewed journal articles and book proposals for several publishing houses.
Current research projects cover a range of methodologies and include an edition and English-language translation of François-Joseph Fétis's Wagner writings, in collaboration with Dr Adeline Heck (Université libre de Bruxelles), practice research on music-dance collaboration, and a major project on music historiography and performance. For more details of research projects, see Other.
Opera and Music Theatre, especially Wagner
Performance (Piano, Chamber Music, Song, Opera) and Performance Practice
Jeremy recently completed a sabbatical February-June 2024, during which he was a visiting researcher at the Laboratoire de musicologie, Université libre de Bruxelles (Mar-Apr), and at the Austrian Centre for Digital Humanities and Cultural Heritage, Austrian Academy of Sciences, Vienna (May-Jun) (https://www.oeaw.ac.at/acdh/institute/team/visiting-researchers/2024).
Management Committee member, COST Action CA21161 (2022-2026) EarlyMuse: A New Ecosystem of Early Music Studies Former leader of Working Group 5 (Policies), 2022-24 https://www.cost.eu/actions/CA21161/
Co-convener of Annual Conferences of the School of Performing Arts UM: 2022 (online), 'Mediating Performance: Technologies, Communities, Spaces', co-convened with Max Erwin (Music Studies): https://www.um.edu.mt/event/mediatingperformance2022 2023 (hybrid), 'Body Knowledges: Praxis, Politics, Performance', co-convened with Mika Lillit Lior (Dance Studies): https://www.um.edu.mt/events/spaconf2023/
Masters Supervision: Fiona Giambra, Master of Arts in Baroque Studies, Dissertation title: 'The Art of Rhetoric and Its Usage in the Music of the Seventeenth and Eighteenth Centuries' (in cooperation with the International Institute for Baroque Studies), Pass with Distinction 2022.
Doctoral Supervision (2023-ongoing): Christopher Muscat, DMus in Composition (title: 'Redefining Liturgical Ritual Music Beyond Sacred Space: A Portfolio of Compositions')
Book chapters in preparation:
- 'Petrushka's Survival', *Music and Motion. Interweaving of Artistic Practice & Theory*, ed. Stephanie Schroedter (forthcoming with mdwPress, 2024);
- ‘Critical Dislocations: Champfleury’s "Richard Wagner" (1860)’, *Reading Texts in Music and Literature during the Long Nineteenth Century*, eds. Katharine Ellis and Phyllis Weliver (forthcoming with Boydell & Brewer, 2025).
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 study of musical historicism (the practical revival of musical works of the distant past) and historiography (written accounts of music history) from c.1780 to c.1840.
