Dr Nicolò Palazzetti

Department of Music
Teaching Fellow in Music

Contact details

University of Birmingham
B15 2TT

I am a musicologist and cultural historian specialising in twentieth-century music, music analysis, aesthetics and cultural transfers. I have published articles and book chapters in French, Italian and English on Béla Bartók and Italian twentieth-century music.


  • Associate Fellowship of the Higher Education Academy (2018)
  • French National Qualification as Maître de Conférences (Associate Professor) in Arts and History (sections 18 and 22) (2017)
  • PhD in Musicology (2017), École des Hautes Études en Sciences Sociales (Paris)
  • Diploma in Humanities (2013), Collegio Superiore, University of Bologna
  • Master’s Degree (Laurea magistrale) in Philosophy, University of Bologna
  • Bachelor’s Degree (Laurea triennale) in Aesthetics, University of Bologna


Prior to joining the University of Birmingham, I completed my studies in Italy and France. I received a Bachelor’s degree in Aesthetics (2010) and a Master’s degree in Philosophy (2013) from the University of Bologna. I also received an advanced training in Piano Performance at the Conservatorio di Pesaro. My undergraduate and postgraduate studies were fully funded by a scholarship awarded by the Collegio Superiore, the School of Excellence of the University of Bologna. In 2015-2016, I was a Stipendiary Research Fellow at the Giorgio Cini Foundation (Venice). In 2017, I completed a doctoral thesis at the École des Hautes Études en Sciences Sociales (Paris), dedicated to the reception of Béla Bartók in Italy.


  • Tonal Harmony and Counterpoint
  • Critical Musicology
  • Music Analysis


My doctoral thesis focused on the cultural reception of Béla Bartók in Italy (1900-1960).

My current research project focuses on Italian musical migration to London from Italian unification (1861) to the Second World War (1945).

Other activities

I have been invited in conferences in Belgium, the Czech Republic, France, Ireland, Italy, Spain, Switzerland and the UK. I have co-organised three conferences in Paris (2015), Cambridge (2016) and Birmingham (2019) dedicated, respectively, to the emerging fields of musical mobilities, to the relation between music and material culture and to Italian musical migration to the British Isles.



  • ‘From Paris to Rome: Alfredo Casella and Béla Bartók in the Early Twentieth Century’, Archival Notes 3 (2018) [forthcoming, in English].
  • 'The Bartók Myth. Fascism, Modernism and Resistance in Italian Musical Culture', International Review of the Aesthetics and Sociology of Music 47, no. 2 (2016): 289–314 [in English].
  • ‘Italian Harmony during the Second World War. Analysis of Bruno Maderna’s First String Quartet’, Rivista di Analisi e Teoria Musicale 21, no. 1 (2015): 63–91 [in English].
  • ‘“Nature and Mystery.” The influence of Bartók’s Night Music in Italy’, Analitica 8 (2015) [in English].
  • ‘“Il musicista della libertà”. L’influenza di Béla Bartók nella cultura musicale italiana degli anni Quaranta e Cinquanta del Novecento’, Rivista italiana di musicologia 50 (2014): 147–197 [in Italian].

Book chapters

  • ‘Bartók Against the Nazis. The Italian Premieres of Bluebeard’s Castle (1938) and The Miraculous Mandarin (1942)’, in The Routledge Companion to Music under German Occupation, 1938-1945: Propaganda, Myth and Reality, ed. by E. Levi and D. Fanning (London: Routledge, 2018) [forthcoming, in English];

Co-edited journal issues


Score preface

  • Preface for reprint of Alfredo Casella, Partita for piano and small orchestra op. 42 (Munich: Musikproduktion Hoeflich, 2018) [forthcoming, in English and German].

Book reviews

  • ‘J. S. Walden, Musical Portraits: The Composition of Identity in Contemporary and Experimental Music’, Dissonance no. 145 (2019) [forthcoming, in English];
  • ‘J. Dunsby, J. Goldman (eds), The Dawn of Music Semiology: Essays in Honor of Jean-Jacques Nattiez’, Revue de musicologie 104, no. 2, (2018) [forthcoming, in French];
  • ‘L. Giombini, Musical Ontology: A Guide for the Perplexed’, Transposition 8 (2018), [forthcoming, in French];
  • ‘K. Henson (ed.), Technology and the Diva: Sopranos, Opera, and Media from Romanticism to the Digital Age’, Dissonance no. 144 (2018) [forthcoming, in Italian];
  • ‘H. Zender, Essais sur la musique’, Dissonance no. 141 (2018), 48–49 [in French];
  • ‘C. Nielinger-Vakil, Luigi Nono. A Composer in Context’, Dissonance no. 137 (2017), 46–48 [in Italian];
  • ‘D. P. Biró, H. Krebs (eds.), The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective’, Dissonance no. 135 (2016): 54–55 [in English];
  • ‘B. Kane, Sound Unseen: Acousmatic Music in Theory and Practice’, Dissonance, no. 133 (2016): 45–46 [in French];
  • ‘M. Iddon, New Music at Darmstadt: Nono, Stockhausen, Cage and Boulez’, Il Saggiatore musicale 22, no. 2 (2015): 322–324 [in English];
  • ‘M. E. Bonds, Absolute Music: The History of an Idea’, Dissonance, no. 132 (2015): 55–56 [in Italian];
  • ‘A. M. Carnelli, Il labirinto e l’intrico dei viottoli. Verklärte Nacht di Arnold Schönberg’, Rivista italiana di musicologia 50 (2015): 310–312 [in Italian];
  • ‘M. A. Carr, After the Rite: Stravinsky’s Path to Neoclassicism (1914-1925)’, Dissonance, no. 131 (2015): 49 [in French];
  • ‘A. Arbo, M. Ruta (eds), Ontologie musicale. Perspectives et débats’, International Review of the Aesthetics and Sociology of Music 46, no. 1 (2015): 190–193 [in English];
  • ‘R. Adlington (ed.), Red Strains: Music and Communism Outside the Communist Bloc’, Transposition 5 (2015), transposition.revues.org/1210 [in French];
  • ‘A. Arbo (ed.), Oltre le periferie dell’impero. Omaggio a Fausto Romitelli’, Dissonance, no. 129 (2015): 49–50 [in English];
  • ‘A. Arbo, Entendre comme. Wittgenstein et l’esthétique musicale’, International Review of the Aesthetics and Sociology of Music 45, no. 1 (2014): 187–191 [in English].

Other writings