Professor Jeremy Barham

PUBLICATIONS LIST

IN PROGRESS

    Contracted monographs

• Post-Centenary Mahler: Revaluing Musical Meaning (Indiana University Press, completion 2018)
• Music, Time and the Moving Image (Cambridge University Press, completion 2019)

    Contracted edited volume

• The Routledge Companion to Global Film Music in the Early Sound Era

     Book chapters

• ‘Eternally Feminine: Cultural Representations of Womanhood in the Scoring of Leni Riefenstahl’s Das blaue Licht’ in The Routledge Companion to Global Film Music in the Early Sound Era, above
• ‘When is a Musical Film not a Film Musical? Diegetic and Generic Complexity in Germany’s First Sound Films’, in The Routledge Companion to Global Film Music in the Early Sound Era, above

     Journal articles

• ‘Mahler’s Musical Rhetoric: Ethos, Pathos and Logos’ (2019) 
• ‘“Foundations” and “Abysses”: Mahler, Postmodernism and the Category Problem of a Multiple Avant Garde’ (2020)
• ‘Turning Outside In: Narratives of Emancipation in the Development of John Coltrane’s My Favorite Things’ (2021)

IN PRESS

    Book chapter

• ‘Outside the Frame: Live-Score Film Screenings and the Cinematic Experience’, in The Oxford Handbook of Cinematic Listening, ed. Carlo Cenciarelli
• 'Literary Enthusiasms', in Mahler in Context, ed. Charles Youmans (Cambrudge University Press)

PUBLISHED

Books, book chapters and book series

• Rethinking Mahler (New York & Oxford: Oxford University Press, 2017)
• The Music and Sound of Experimental Cinema, co-edited with Holly Rogers (New York & Oxford: Oxford University Press, 2017)
• ‘Birth and Death of the Cool: the Glorious Afflictions of Jazz on Screen’, in The Routledge Companion to Screen Music and Sound, eds Miguel Mera, Ron Sadoff, and Ben Winters (New York: Routledge, 2017), pp. 375–87
• ‘Mahler and the Game of History’, in Rethinking Mahler , ed. Jeremy Barham (New York & Oxford: Oxford University Press, 2017), pp. 315–51
• ‘The Music of Gustav Mahler in Experimental Film Contexts: Questions of Visual Music and Intermedial Theory’, in The Music and Sound of Experimental Cinema, eds Holly Rogers and Jeremy Barham (New York & Oxford: Oxford University Press, 2017), pp. 283–302
• ‘“Mit der Dummheit kämpfen Götter selbst vergebens”. Mahler, the Politics of Reason, and the Metaphysics of Spiritualism’, invited contribution to Naturlauf: Scholarly Journeys Toward Gustav Mahler, Essays in Honour of Henry-Louis de La Grange at His Ninetieth Birthday, ed. Paul-André Bempéchat (Bern: Lang, 2016), pp. 73–109
• ‘Music and the Moving Image’, invited chapter in Aesthetics of music. Musicological Perspectives, ed. Stephen Downes (New York & London: Routledge, 2014), pp. 224–38
•    ‘“A Time of Gifts”: Mahler’s Eighth, Fassbinder’s Cinema, and Musical Politics’ invited chapter in Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Studien zur Wertungsforschung 52 (Vienna & London: Universal Edition, 2011), pp. 61–80
•    ‘“Made in Germany”: Mahler, Musicological Imperialism and the Decentred Self’, invited chapter in Federico Celestini, Gregor Kokorz and Julian Johnson (eds), Musik in der Moderne/Music and Modernism, Wiener Veröffentlichungen zur Musikgeschichte 9 (Köln, Weimar und Wien: Böhlau, 2011), pp. 91–103 
• ‘Dismembering the Musical Voice: Mahler, Melodrama and Dracula from Stage to Screen’ invited chapter in Sarah Hibberd (ed.), Melodramatic Voices: Understanding Music Drama (Aldershot: Ashgate, 2011), pp. 309–47.
•    ‘Mahler’s “verkehrte Welt”. Fechner, ‘Learned Satire’ and the Third Movement of Symphony No. 3’ invited chapter in Erich Partsch & Morten Solvik (eds), Mahler in His Cultural Context/Mahler im kulturellen Kontext (Vienna: Böhlau Verlag, 2011) pp. 169–98.
•    ‘Mahler and Socio-Cultural Nomadism: the Case of the Fifth Symphony’ invited chapter in Arnold   Jacobshagen (ed.), Beiträge z. symposium ‘Ferne Heimatklänge – Gustav Mahler und die Moderne’ Köln May 2010 (Stuttgart: Franz Steiner Verlag, 2011), pp. 57–68
•   Oxford Studies in Recorded Jazz (series editor; New York: Oxford University Press, from 2011):

Brian Harker, Louis Armstrong’s Hot Five and Hot Seven Recordings

Keith Waters, The Studio Recordings of The Miles Davis Quintet, 1965–68

Peter Elsdon, Keith Jarrett: The Köln Concert

Catherine Tackley, Benny Goodman. The Famous 1938 Carnegie Hall Jazz Concert

Gabriel Solis, Thelonious Monk and John  Coltrane at Carnegie Hall

Mervyn Cooke, Pat Metheny: The ECM Years, 1976–1984

George Burrows, Andy Kirk’s Clouds of Joy

Stephen Crist, Dave Brubeck’s Time Out

• ‘Mahler, Heimat and Randkultur: Musical Politics of Centre and Periphery’, in Mathieu Schneider & Beat Foellmi (eds), Music and the Construction of National Identities in the 19th Century (Baden Baden & Bouxwiller: Editions Valentin Koerner, 2010), pp. 267–82
• ‘Incorporating Monsters: Music as Context, Character and Construction in Kubrick’s The Shining’, book chapter in Philip Hayward (ed.), Terror Tracks. Music and Sound in Horror Cinema (London: Equinox Press, 2009), pp. 137–70 
• The Cambridge Companion to Mahler (Cambridge, 2007); editor and contributor of chapter ‘Juvenilia and Early Works: From the First Song Fragments to Das klagende Lied’, pp. 51–71 
• Gustav Mahler: New Insights into his Life, Time and Work; translation, with critical essay and commentary, of Alfred Mathis-Rosenzweig, ‘Gustav Mahler: neue Erkentnisse zu seinem Leben, seiner Zeit, seinem Werk’ (unpubl., 1945). ‘Guildhall Research Studies’ (London & Aldershot: Guildhall School of Music and Drama & Ashgate, 2007)
• Perspectives on Gustav Mahler (Aldershot: Ashgate, 2005); editor and contributor of chapter ‘Mahler the Thinker: the Books of the Alma Mahler-Werfel Collection’, pp. 37–151 
• ‘Mahler’s First Compositions: Piano Quartet and Songs’, in Donald Mitchell & Andrew Nicholson (eds.) The Mahler Companion (Oxford University Press, 2002), pp. 597–607

Journal articles and reviews

• ‘The Ghost in the Machine: volkstümlich Appropriations in Mahler’s Fifth Symphony’, Nineteenth-Century Music Review, 15/3 (December 2018): 353-90
• ‘“Not Necessarily Mahler”: Remix, Samples and Borrowing in the Age of “Wiki”’, Contemporary Music Review, 33/2 (2014): 1–20
• ‘Programming Mahler: Meaning, Redescription, and the Post-Adornian Counterlife’, Nineteenth-Century Music Review (issue guest edited by Jeremy Barham: ‘Mahler: Centenary Commentaries on Musical Meaning’, 8/2 (November 2011)): 255–71
• ‘Recurring Dreams and Moving Images: the Cinematic Appropriation of Schumann’s Op. 15 no. 7’, 19th-Century Music 34/3 (Spring 2011): 271–301
• ‘Plundering Cultural Archives and Transcending Diegetics: Mahler’s Music as “Overscore”’, Music and the Moving Image (Illinois), 3/1 (2010): 1–24
• ‘Rhizomes and Plateaus: Rethinking Jazz Historiography and the Jazz-Classical Relationship’, Jazz Research Journal 3/2 (2009): 171–202
• ‘Scoring Incredible Futures: Science Fiction Screen Music, and “Post-Modernism” as Romantic Epiphany’, The Musical Quarterly, 91 (2008): 240–74 
• ‘Mahler, Music and the Moving Image: Beyond Death in Venice’, Nachrichten zur Mahler-Forschung, Vienna, 57 (Spring 2008): 26–46
• Review of K. M. Knittel, Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna (Farnham: Ashgate, 2010), Music & Letters, 93/2 (2012): 255–7
• Review of the Internationale Gustav Mahler Gesellschaft’s Critical Edition of Mahler’s Fifth Symphony, Nineteenth-Century Music Review, 5/2 (2008): 166–69 
• Review of Gustav Mahler: Briefe und Musikautographen aus den Moldenhauer-Archiven in der Bayerischen Staatsbibliothek (Munich: Bayerische Staatsbibliothek und Kulturstiftung der Länder, March 2003) Music & Letters, 87/1 (2006): 147–53  
• Review of CD recording of Mahler songs (Stephan Genz & Roger Vignoles), Nineteenth-Century Music Review, 3/1 (2006): 144–7 
• Review of Bernd Schabbing, Gustav Mahler als Konzert- und Operndirigent in Hamburg (Berlin: Verlag Ernst Kuhn, 2002), Music & Letters 85/4 (2004): 649–53 
• Review of the Internationale Gustav Mahler Gesellschaft’s Critical Edition of three-movement version of Mahler’s Das klagende Lied, Music & Letters 83/1 (2002): 177–80 
• Review of the Internationale Gustav Mahler Gesellschaft’s Critical Edition of Des Knaben Wunderhorn, Music & Letters 83/2 (2002): 330–33 

CONFERENCE PAPERS AND PUBLIC LECTURES

• Invited BBC Radio 3 pre-Proms talk on Mahler’s Fourth Symphony, Royal Albert Hall, London (August 2018)
• Invited paper, ‘Music, Temporality and the Hyperreal in Recent Documentary Films by Adam Curtis’, 10th Meeting of the International Musicological Society Music and Media Study Group, University of Salamanca (13–16 June 2018)
• Invited pre-concert lecture, Philharmonia Orchestra, Mendelssohn, Strauss, Mahler Symphony 4, cond. Lahav Shani, Royal Festival Hall, (February 2018)
• Invited research seminar, Oxford University, ‘Mahler’s Fifth Symphony and Thomas Koschat: an Enigma Resolved?’ (April 2017)
• Invited research seminar, University of Edinburgh, ‘Mahler’s Fifth Symphony and Thomas Koschat: an Enigma Resolved?’, (March 2017)
• Old is New: the Presence of the Past in the Music of the Present Conference, Lisbon (November 2016), paper: ‘In with the Old and Out with the New: Remixing Mahler and the Problems of Technological Historicism’
• Invited pre-concert lecture, BBC Scottish Symphony Orchestra, Mahler Symphony 4, cond. Donald Runnicles (November 2016)
• Invited paper ‘Stages of De-Composition or Paths to Enlightenment? Visual Music, and Mahler as Experimental Film Commodity’ at Conference Toblach Mahler Musikwochen 2016 (Dobbiaco/Toblach Italy, June 2016)
• Invited study lecture, Orchestra of the Age of Enlightenment, Mahler and performance practice, Southbank Centre (April 2016)
• AMS, Louisville KY (November 2015), invited paper ‘The Ghost in the Machine: volkstümlich Appropriations in Mahler’s Fifth Symphony’ on panel ‘Allusion, Remembrance, and Interpretation in Mahler’s Music’
• Ninth International Conference on Music Since 1900, University of Glasgow (September 2015), paper: ‘Mahler and the Paradoxes of Social Liberalism in Early Modernist Austria’
• Listening Cinematically Conference, Royal Holloway (June 2015), invited paper: ‘Outside the Frame: Live-Score Film Screenings and the Cinematic Experience’
• Research seminar: ‘The Birth and Death of the Cool: Jazz’s Screen Afflictions’, Surrey University, May 2015
• Hollywood’s Musical Contemporaries and Competitors in the Early Sound-Film Era Conference, University of Surrey (July 2014), paper: ‘Eternally Feminine. Cultural Representations of Womanhood in Leni Riefenstahl’s Das blaue Licht’
• Music and Screen Media Conference, University of Liverpool (June 2014), paper: ‘Madness and Dysfunctionality: Jazz’s Screen Burden’
• Two invited pre-concert talks, BBC Scottish Symphony Orchestra, Glasgow City Halls, and Usher Hall Edinburgh, Mahler Symphony no. 9 (April 2014)
• Invited lecture ‘The Organ in the Movies’, Southbank Centre Organ Festival (March 2014)
• RMA Annual Conference, London (September 2013), invited speaker on panel ‘Music in films: ethical-aesthetic discursive disruptions’, paper: ‘Eternally Feminine: Cultural Representations of Womanhood in the Scoring of Early Sound Films from Weimar-Republic Germany’
• Invited panelist, BBC Radio 3 Proms Plus: Mahler, Symphony no. 2 (August 2013)
• Music and the Moving Image Conference, NYU Steinhardt (May 2013), paper: ‘Music in Germany’s Earliest Sound Films: an Archival and Cultural Investigation’
• Annual Conference of the RMA Music and Philosophy Study Group (with the AMS Music and Philosophy Study Group), King’s College London (July 2012), paper: ‘“Not Necessarily Mahler”: Composed Artefacts, Samples, and the Philosophy of “Wiki”’
• Seventeenth Biennial International Conference On Nineteenth-Century Music, Edinburgh University (June 2012), paper: ‘“Laughter and Forgetting”: the Socio-Cultural Dynamics of March and Dance in Mahler’s Music’
• Theories of Time & Music Conference, The Ionian University, Corfu (April 2012), paper: ‘From Montage to Moment: Extremes of Music’s Temporal Agency in Screen Media’
• Invited research colloquium: ‘Delusion, untimeliness, immemory? Fragments of improper music historiography from Mahler to Jazz and beyond’, Nottingham University (Jan. 2012)
• Radical Music History Symposium, Sibelius Academy, Helsinki (December 2011), paper: ‘Improper Historiography: Mahler, the Rhizome and Economies of Proliferation’
• Leeds Film Music Conference, Leeds University (September 2011), paper: ‘From Montage to Moment: Extremes of Music’s Temporal Agency in Screen Media’
• Chichester International Film Festival (August 2011), invited talk: ‘Mahler and the Moving Image’
• Gustav Mahler Centenary Conference: ‘Mahler Contemporary of the Past?’, University of Surrey (July 2011), paper: ‘The History Game’
• After Mahler’s Death: International Gustav Mahler Symposium, Vienna (Konzerthaus) (May 2011), invited paper: ‘Mahler on Screen: Truth, Translation, Travesty?’
• International Conference Time’s Excesses & Eccentricities: Music, Literature and Art, Université de Caen Basse-Normandie (May 2011), paper: ‘Musical Temporality and the Moving Image: Culture, Kinesis and Chronology’
• Invited pre-concert talk for Royal Philharmonic Orchestra, Royal Albert Hall (May, 2011): ‘The Universe Bursts Into Song: Mahler and his Eighth Symphony’
• Invited study day, Austrian Cultural Forum London (April 2011), on Mahler Symphony 3
• Invited series of five pre-concert talks for LPO’s Mahler anniversary season, Royal Festival Hall (September 2010-May 2011), (available as podcasts, and supplemented with essay and interview with Principal Conductor Vladimir Jurowski in LPO 2010-11 Yearbook)
• Invited panelist, Radio 3 Discovering Music broadcast (March 2011), Mahler Symphony 2 
• Invited research seminar, Birmingham University (February 2011): ‘Mahler in the Marketplace: Cultural Capitalism and its Discontents’
• A Work of Art of Higher Artistic Order. Text and Context of Mahler's Eighth Symphony Conference, Carleton University, Ottawa, (June 2010), invited paper: ‘“A Time of Gifts”: Mahler’s Eighth, Fassbinder’s Cinema, and Musical Politics’
• Ferne Heimatklänge. Gustav Mahler und die Moderne Conference (MusikTriennale Köln), Philharmonie & Hochschule für Musik und Tanz, Cologne (May 2010), invited paper: ‘Mahler and Socio-Cultural Nomadism: the Case of the Fifth Symphony’
• Invited Mahler study day, Austrian Cultural Forum, London (April 2010)
• Invited talk for LSO study day: Mahler Wunderhorn songs, LSO St Luke’s (November 2009)
• Invited panelist, BBC Radio 3 Proms Plus discussion: Mahler Symphony 9 (July 2009)
• Music and the Moving Image Conference, NYU Steinhardt (May 2009), paper: ‘Chronicling Motion: Music as Temporalizing Agency in Experimental and Mainstream Screen Media’
• Music Theory and Analysis - Seventh Annual Conference, University of Arts, Belgrade (May 2009), paper: ‘Ricoeurian Narrative Structures, 19th-Century Cognitive Models, and the “Anxiety of Decadence” in the First Movement of Mahler’s Third Symphony’
• Leeds International Jazz Conference, Leeds University (March 2009), paper: ‘Roots, Rhizomes and Plateaus: Rethinking Jazz Historiography and the Jazz-Classical Relationship’
• Invited pre-concert talk for London Philharmonic Orchestra, Royal Festival Hall (February 2009): ‘Mahler’s arrangement of Beethoven Symphony No. 9’
• Research seminar, University of Surrey (December 2008): ‘Recurring Dreams: the Cinematic Appropriation of Schumann’s Op. 15 no. 7’
• New Jazz Histories Symposium, University of Salford (November 2008), paper: ‘Differing Roots, Unpopular Histories: Radicalism as Meeting of Minds in Jazz-Classical Aesthetics’
• Music and the Melodramatic Aesthetic Conference, Nottingham University (September 2008), paper: ‘Mahler’s Apocalypse: Symphony 2 and Virtual Melodrama’
• Screen Studies Conference, Glasgow University (July 2008), paper: ‘Plundering Cultural Archives: Mahler’s Music as “Overscore”’
• Fifteenth Biennial International Conference on Nineteenth-Century Music, University College, Dublin (June 2008), paper: ‘Mahler, Dynamics and the 19th-Century Psychological Turn’
• Music and the Moving Image Conference, NYU Steinhardt (May-June 2008), paper: ‘Plundering Cultural Archives: Mahler’s Music as “Overscore”’
• Music and the Construction of National Identities Conference, Strasbourg University (Oct 2007), invited paper: ‘Mahler, Heimat and Randkultur: Musical Politics of Centre and Periphery’
• International Conference: Sound, Music & the Moving Image, IMR, University of London (September 2007), paper: ‘Postmodernism as Romantic Epiphany: the Bachian Intertext in Film Scoring’
• Gustav Mahler. Interpretation and Reception Conference, University of Saarbrücken (June 2007): invited paper ‘Mahler’s Screen Persona: Music, Mythologies and the Moving Image’
• Research seminar, University of Surrey (June 2007): ‘Firing Canons and Targeting the Logos in Musicology: Some Critical Perspectives’
• Royal Musical Association 42nd Annual Conference ‘Music and Visual Cultures’, Nottingham University (July 2006), paper:  ‘Temporal Relations in Music and Screen Media’
• Invited research seminar, University of Sheffield (March 2006): ‘Gustav Mahler: the Lost Rosenzweig Manuscript’
• Invited research seminar, University of East Anglia (December 2005): ‘Technology, the Metropolis and Science-Fiction Film Music’
• Invited pre-concert lecture, Gustav Mahler Society UK, The Anvil Basingstoke (September 2005): ‘Mahler’s Sixth Symphony’
• Music in der Moderne Symposium, University of Graz (July 2004), invited paper: ‘“Made in Germany”: Mahler, Musicological Imperialism and the Decentred Self’
• 13th International Conference on Nineteenth-Century Music, University of Durham (July 2004), paper: ‘Mahler and the Melodramatic Imagination’
• Third International Conference on Twentieth-Century Music, Nottingham University (June 2003), paper: ‘“Made in Germany”: Musicological Imperialism and a Recently Discovered Mahler Study by Alfred Mathis-Rosenzweig’
• Research seminar, University of Surrey (February 2003): ‘Incorporating Monsters: Music of Utopia and Dystopia in Science Fiction and Horror Film Genres’
• Royal Musical Association 38th annual Conference, Glasgow University (November-December 2002), paper: ‘Music of the Future: the Appropriation of 19th-Century Repertoire in Paramount’s “Star Trek: Voyager”’
• International Musicological Society, 17th International Congress, University of Leuven (August 2002), paper: ‘The Cinematic in Gustav Mahler’