Thomas Irvine
- Primary position:
- Lecturer in Music
Background
Tom Irvine was born in Munich to American parents and grew up in Stony Brook, NY, USA. After professional musical education (BM Shepherd School of Music/Rice University, MM Indiana University School of Music) he spent several years in Germany playing the viola in various ensembles and orchestras, including La Stagione Frankfurt, Das neue Orchester Cologne, the Capella Augustina, Musica Antiqua Cologne, and his own Ensemble Campanile; he recorded with cpo, Opus 111, Deutsche Grammophon, and Hungaroton.
In 1999 he began graduate studies in performance practice and musicology at Cornell University (he took his PhD there in 2005). In 2002 he returned to Europe as a DAAD fellow at the University of Würzburg Institute of Musicology. In the academic year 2005/2006 he was Packard Humanities Institute Research Fellow in Würzburg as a member of the team producing the Digital Mozart Edition.
Tom has written articles and reviews for the Mozart-Jahrbuch, Eighteenth-Century Music, Early Music, Current Musicology, Journal of Musicology and Music and Letters. He is co-editor of Scientia et experientia musicae: Southampton-Würzburg Studies in Eighteenth Century Music Culture (Mainz:Are-Verlag) and deputy director of the Southampton Centre for Eighteenth-Century Studies.
Publications
Articles and book chapters
‘Reading, Listening, and Performing in Wilhelm Heinse’s Hildegard von Hohenthal (1796)’ Journal of Musicology 30/4 (October 2013).
‘Das Bürgertum schafft sich ab. Zur Gründung der Philharmonic Society in London, 1813’, in Laurenz Lütteken, ed., Zwischen Tempel und Verein. Musik und Bürgertum im 19. Jahrhundert. Kassel: Bärenreiter (forthcoming July 2013).
Thomas Irvine, ‘Rousseau, Ausführung, Ausdruck, Präsenz’ in Rousseau und die Moderne: Eine kleine Enyzklopädie, ed. Stefanie Stockhorst and Iwan d’Aprile, Heidelberg: Wallstein, (forthcoming 2013).
‘Normality and Emplotment: Walter Leigh’s Midsummer Night’s Dream in the Third Reich and Britain.’ Music and Letters 94/2 (2013).
‘Musical Performance, Natural Law and Interpretation’ in Law and Art: Justice, Ethics and Aesthetics ed. Oren Ben-Dor. London: Routledge-Cavendish, 2011. 231-244.
‘Hindemith’s Disciple in London: Walter Leigh on Modern Music 1932-1940’ in British Music and Modernism 1895-1945 ed. Matthew Riley. Aldershot: Ashgate, 2010. 197-220.
‘Der wohlgelesene Kapellmeister. Leopold Mozart und die Literaturen der Aufklärung.’ Acta Mozartiana 55/1-2 (June 2008). 6-16.
‘Mozart, Mannheim, and Musical Performance.’ Mozart-Jahrbuch 2006. 163-76.
‘The Foundations of Mozart Scholarship.’ Current Musicology 81 (June 2006). 7-52.
‘Execution and Expression: Leopold Mozart on the Aesthetics of Performance.’ Neues musikwissenschaftliches Jahrbuch 14 (2006). 63-81.
‘‘Das launigste Thema.’ On the Politics of Editing and Performing the Finale of Mozart’s K. 593.’ Mozart-Jahrbuch 2003/2004. 3-23.
‘Mozarts KV 475: Fantasie als Utopie?’ Acta Mozartiana 50/1 (June 2003). 37-49.
Reviews
Stephanie D. Vial, The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical ‘Period’. Eighteenth Century Music 7/2 (September 2010). 293-295.
Gabrielli Consort/Paul McCreesh, J. Haydn, The Creation (English Version). Eighteenth Century Music 6/2 (September 2009). 291-93.
Simon P. Keefe, Mozart’s Viennese Instrumental Music and Mozart Studies. British Journal of Eighteenth Century Studies 32/2 (2009). 274-77.
Conference Review ‘Der junge Mozart’ (Salzburg 2005). Eighteenth Century Music 3/3. 370-72.
Mozart-Jahrbuch 2001. Eighteenth Century Music 3/1 (2006). 143-46.
Daniel Leech-Wilkinson, The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Current Musicology 77 (Spring 2004). 147-57.
‘Mozart’s Divas.’ Eighteenth Century Music 1/1 (March 2004). 116-18.
‘Dialogues and Conversations.’ Review of Simon P. Keefe, Mozart’s Piano Concertos: Dramatic Dialogue in the Age of Enlightenment and Mara Parker, The String Quartet, 1750-1797: Four Types of Musical Conversation. Early Music 2/2003. 131-33.
‘Millennial Mega-Meeting.’ Early Music 2/2001. 150-52.
Articles for the Cambridge Mozart Encyclopedia, entries for the New Köchel, numerous CD and concert program notes, scholarly translations from the German.
Research
Research Interests
Tom’s main research interests are eighteenth century music culture (with special focus on Mozart), Anglo-German musical relations in the twentieth century, sonic studies in a global perspective and music historiography. Recently he has begun to explore the (fascinating) sonic history of the Sino-European encounter in the age of the Canton Trade.
Affiliate research group: Musicology and Ethnomusicology
Teaching Responsibilities
Tom lectures across the undergraduate course on diverse topics including eighteenth century music, jazz history, ‘authenticity’ in music and twentieth century British music. He contributes to the MA in Eighteenth Century Studies and has supervised BA dissertations and MMus essays and dissertations on topics from Mozart to avant-garde jazz.
He currently supervises PhD students in eighteenth century music, British music from 1750 to the present, jazz history and performance studies. Tom welcomes proposals in all of these areas and any others that fall in the broad area of German and British music history from 1700 to 1950.
PhD Supervision to completion
Stephen Groves, The Sound of the English Picturesque in the Late Eighteenth Century: Native Vocal Music and Haydn’s The Seasons (2012)
Contact
Dr Thomas Irvine
Building 2
Department of Music
University of Southampton
Highfield
Southampton
SO17 1BJ
UK
Room Number: 6/1095
Telephone: (023) 8059 5064
Email: T.A.Irvine@soton.ac.uk