Jeremy T. H. Coleman

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 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). His current research examines the phenomenon of so-called 'historical concerts' during the first half of the 19th century as part of a wider revival of 'early music'.