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

Department of Music
Senior Lecturer

Contact details

Bramall Music Building
University of Birmingham
B15 2TT

I specialise in twentieth-century repertory, analysis, critical theory and aesthetics.


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.


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.


I teach undergraduate modules on twentieth-century musical history, on the analysis of tonal and post-tonal music and on critical theory, and postgraduate modules on contemporary music studies and on the history of musical aesthetics.

Postgraduate supervision

I am currently supervising PhD dissertations on temporality in late Debussy, British musical Wagnerism, and the Cello Sonata, Op. 8 of Kodaly.

Find out more - our Music postgraduate study  page has information about doctoral research at the University of Birmingham.

Doctoral research

PhD title
'Musical Modernism in Fascist Italy: Dallapiccola in the Thirties'.


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, Exams Officer, Plagiarism contact, Welfare tutor, Mitigations officer, Admissions tutor, Director of Learning and Teaching.


  • Critical edition of Arthur Bliss, Miracle in the Gorbals (London: Novello, forthcoming).
  • Review of Luciano Alberti, La giovinezza sommersa di un compositore: Luigi Dallapiccola (Florence: Olschki, 2013), Music & Letters, forthcoming.
  • Preface for reprint of Riccardo Zandonai, Episodio sinfonico (dalla Danza del Torchio e Cavalcata) from Giulietta e Romeo (Munich: Musikproduktion Hoeflich, 2017).
  • ‘Modernism and Reification in the Music of Frank Bridge’, Journal of the Royal Musical Association, 141/2 (2016), 335–402.
  • Preface for reprint of Riccardo Zandonai, Quadri di Segantini (Munich: Musikproduktion Hoeflich, 2016), [v–vii].
  • Preface for reprint of Leone Sinigaglia, Overture to ‘Le Baruffe Chiozzotte’ (Munich: Musikproduktion Hoeflich, 2016), [iii–iv].
  • Review of Fabian Huss, The Music of Frank Bridge (Woodbridge: Boydell, 2015), in Music & Letters, 97/2 (2016), 358–60.
  • ‘Puccini, Fascism, and the Case of Turandot’, in Arman Schwartz and Emanuele Senici (eds.), Puccini and His World (Princeton: Princeton University Press, 2016), 159–82.
  • ‘Twelve-Note Music as Music: An Essay in Two Parts’, Music Analysis, 34/1 (2015), 91–149.
  • Preface for reprint of Leone Sinigaglia, Violinkonzert (Munich: Musikproduktion Hoeflich, 2015) [iii–iv].
  • Preface for reprint of Mario Pilati, Preludio, Aria e Tarantella (Munich: Musikproduktion Hoeflich, 2014) [iii–iv].
  • Revision of David Osmond-Smith, ‘Berio, Luciano’, Grove Music Online (published 3 Sept 2014).
  • Preface for reprint of Mario Pilati, Concerto in do maggiore (Munich: Musikproduktion Hoeflich, 2014), [iii–v].
  • ‘The Politics of the New Music’, review article on Angela Ida De Benedictis and Ulrich Mosch (eds.), Alla ricerca di luce e chiarezza. L’epistolario Helmut Lachenmann – Luigi Nono (1957–1990) (Florence: Olschki, 2012), in Music & Letters, 94/4 (2013), 664–71.
  • Luigi Dallapiccola and Musical Modernism in Fascist Italy (Cambridge: Cambridge University Press, 2013), pp. xvi+304.
  • ‘“In onore della Resistenza”: Mario Zafred and Symphonic Neorealism’, in Robert Adlington (ed.), Red Strains: Music and Communism Outside the Communist Bloc, Proceedings of the British Academy, 185 (Oxford: British Academy/Oxford University Press, 2013), 149–71.
  • ‘Verdi, Dallapiccola and Operatic “Gesture”: Ottocento Practice in Il prigioniero’, in Lorenzo Frassà and Michela Nicolai (eds.), Verdi Reception (Turnhout: Brepols, 2013), 217–55.
  • 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, 9/1–2 (2012), 11–37.
  • Preface for reprint of Mario Pilati, Suite per pianoforte e orchestra d’archi (Munich: Musikproduktion Hoeflich, 2011), [iii–iv].
  • Preface for reprint of Giovanni Salviucci, Ouverture in do diesis minore (Munich: Musikproduktion Hoeflich, 2011), [iii–v].
  • ‘“The Real Thing – At Last”? Historicizing Humphrey Searle’, in Matthew Riley (ed.), British Music and Modernism, 1895–1960 (Farnham: Ashgate, 2010), 293–325.
  • Preface for reprint of Giovanni Salviucci, Serenata (Munich: Musikproduktion Hoeflich, 2009), 1–4.
  • Review article on Fiamma Nicolodi (ed.), Luigi Dallapiccola nel suo secolo. Atti del convegni internazionale (Firenze, 10–12 dicembre 2004) (Florence: Olschki, 2007), in Il saggiatore musicale, 15/2 (2008), 329–42.
  • Review of Vivienne Suvini-Hand, Sweet Thunder: Music and Libretti in 1960s Italy (London: Legenda, 2007), in Modern Languages Review, 103/4 (2008), 1141–2.
  • Review of Luciano Berio, Remembering the Future (Cambridge, MA: Harvard University Press, 2006), in Music & Letters, 89/2 (2008), 283–7.
  • Preface for reprint of Giovanni Salviucci, Alcesti (Munich: Musikproduktion Hoeflich, 2008), i–iv.
  • Preface for reprint of Giovanni Salviucci, Introduzione, Passacaglia e Finale (Munich: Musikproduktion Hoeflich, 2008), i–iv.
  • ‘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: La riforma del 1930. Storia e documenti (Turin: EDT/De Sono, 2005), in Music & Letters, 88/1 (2007), 182–6.
  • Preface for reprint of Giovanni Salviucci, Sinfonia da camera (Munich: Musikproduktion Hoeflich, 2007), i–iv.
  • ‘Music (Italy)’, in Cyprian P. Blamires (ed.), World Fascism: A Historical Encyclopedia, 2 vols. (Santa Barbara: ABC Clio, 2006), ii, 438–9.
  • ‘Dallapiccola’s Early Synthesis: No. 1, “Vespro, tutto riporti”, from Cinque frammenti di Saffo’, Music Analysis, 25/1–2 (2006), 3–38.
  • Review of Austin Clarkson (ed.), On the Music of Stefan Wolpe: Essays and Recollections (New York: Pendragon, 2003), in Music & Letters, 86/2 (2005), 312–15.
  • Review of Raymond Fearn, The Music of Luigi Dallapiccola (Rochester, NY: University of Rochester Press, 2003), in Brio, 41 (2004), 58–9.
  • ‘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, 86/4 (2003), 608–43.

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