Dr Ben Earle MA (Cantab), MMus (London), PhD (Cantab)

Lecturer in Music

Department of Music

Photograph of Dr Ben Earle

Contact details

Telephone +44 (0)121 414 7962

Email b.n.earle@bham.ac.uk

Arts Building
University of Birmingham
Edgbaston
Birmingham
B15 2TT
UK

About

I am a lecturer in Music at the University of Birmingham, specialising in twentieth-century repertory, analysis, critical theory and aesthetics.

Qualifications

I hold a first degree from the University of Cambridge, a Masters in Theory and Analysis from Kings College London and a doctorate from Cambridge.

Biography

I have been teaching at the University of Birmingham since 2004. Before that I held a Junior Research Fellowship at St John’s College, Oxford.

Teaching

I teach modules on twentieth-century music history, analysis of tonal and post-tonal music, and a postgraduate module in aesthetics.

Postgraduate supervision

I am currently supervising a dissertation on temporality in late Debussy.

Research

My research interests are in the history, analysis and criticism of musical modernism, Italian and British.

Other activities

I am (or have been) the following: Library representative, Plagiarism contact, Welfare tutor, Mitigations officer, Admissions tutor, Director of Learning and Teaching.

Publications

‘“In onore della Resistenza”: Mario Zafred and Symphonic Neo-Realism’, in Robert Adlington (ed.), Red Strains: Music and Communism outside the Communist Bloc after 1945 (London: British Academy/OUP, forthcoming).

‘Verdi, Dallapiccola and Operatic “Gesture”: Ottocento Practice in Il prigioniero’, in Lorenzo Frassà (ed.), Verdi Reception (Turnhout: Brepols, forthcoming).

Preface for reprint of Giovanni Salviucci, Ouverture in do diesis minore (Munich: Musikproduktion Jürgen Höflich, forthcoming).

Translation and editing of David Osmond-Smith, ‘Masculine Semiotics: The Music of Goffredo Petrassi and the Figurative Arts in Italy during the 1930s’, Twentieth-Century Music (forthcoming).

‘“The Real Thing – at Last?” Historicizing Humphrey Searle’, in Matthew Riley (ed.), British Music and Modernism, 1895–1960 (Farnham: Ashgate, 2010), 293–325

Prefaces for reprints of Giovanni Salviucci, Sinfonia da camera, Introduzione, passacaglia e finale, Alcesti and Serenata (Munich: Musikproduktion Jürgen Höflich, 2007–9).

Review of Fiamma Nicolodi (ed.), Luigi Dallapiccola nel suo secolo (Florence: Olschki, 2007), in Il saggiatore musicale, 15/2 (2008), 329–42.

Review of Luciano Berio, Remembering the Future (Cambridge, MA: Harvard University Press, 2006), in Music & Letters, 89/2 (2008), 283–7.

‘Dallapiccola and the Politics of Commitment: Re-reading Il prigioniero’, Radical Musicology, 2 (2007), 83 pars.

Review of Orazio Maione, I conservatori di musica durante il fascismo (Turin: EDT/De Sono, 2005), in Music & Letters, 88/1 (2007), 182–6.

‘Dallapiccola’s Early Synthesis: No. 1, “Vespro, tutto riporti”, from Cinque frammenti di Saffo’, Music Analysis, 25/1–2 (2006), 1–38.

‘The Avant-Garde Artist as Superman: Aesthetics and Politics in Dallapiccola’s Volo di notte’, in Roberto Illiano (ed.), Italian Music During the Fascist Period (Turnhout: Brepols, 2004), 657–716.

‘Taste, Power, and Trying to Understand Op. 36: British Attempts to Popularize Schoenberg’, Music & Letters, 84/4 (2003), 608–43.

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