Keith Chapin
A native of Fairbanks, Alaska, Keith Chapin developed early interests in music, languages and literature, and the sciences. He studied at Yale University, earning both a BA in music and a MM in viola performance. During this time, he studied viola with Jesse Levine and chamber music with the Tokyo Quartet. He earned his PhD at Stanford University with a dissertation entitled ‘From Tone System to Personal Inspiration: The Metaphysics of Counterpoint in 18th and Early 19th-Century Germany’. Before coming to Cardiff University in 2011, he taught at the San Francisco Conservatory of Music (2001-2002), Fordham University (New York City, 2002-2007), and the New Zealand School of Music (Wellington, 2008-2011). He has continued to perform intermittently as a chamber musician.
He has published widely on issues of aesthetics and the history of music theory between the seventeenth and twentieth centuries, and has focused in particular on the aesthetics of counterpoint, the German musical appropriation of French literary classicism, and the music criticism of E. T. A. Hoffmann. He is currently at work on two book projects. The first (The Cultures of Counterpoint in Eighteenth-Century Germany) is on the relationship between the aesthetics of counterpoint and German learned musicians’ attempts to reconceive their professional roles over the course of the eighteenth century. The second (Types of Musical Sublimity in the Eighteenth-Century) describes the different ideals of sublimity in circulation during the long eighteenth century and elaborates on their musical implications and manifestations. He is also at work with Andrew Clark (Fordham University) on a second co-edited book entitled Speaking of Music. This book examines the ways that scholars in different disciplines speak about music. Other publication projects include commissioned book chapters on the ‘topic’ of the learned style in the eighteenth-century, on classicism and neo-classicism, and on music theory and visual culture in late eighteenth-century Germany.
He has given pre-performance lectures at the San Francisco Opera and was a regular contributor on the programme Upbeat for Radio New Zealand Concert. He has served as Editor of Eighteenth-Century Music, Associate Editor of 19th-Century Music, and as a member of the editorial board of Acta musicologica. He currently sits on the editorial boards of Eighteenth-Century Music and 19th-Century Music.
He has taught a variety of courses on seventeenth and eighteenth-century music history, as well as advanced courses combining analysis and aesthetics with such focuses as Mozart’s string quartets, eighteenth-century definitions of sublimity, and early twentieth-century performance style (e.g., Furtwängler and Klemperer).
Keith Chapin is coordinator for Erasmus and International Programmes at the Cardiff University School of Music.
He has been elected Ordinary Member of Council of the Royal Musical Association for a term of three years (2013-2015).
Phone: +44 (0)29 2087 0925
Address: Cardiff University
School of Music
Corbett Rd
Cardiff CF10 3EB
United Kingdom
He has published widely on issues of aesthetics and the history of music theory between the seventeenth and twentieth centuries, and has focused in particular on the aesthetics of counterpoint, the German musical appropriation of French literary classicism, and the music criticism of E. T. A. Hoffmann. He is currently at work on two book projects. The first (The Cultures of Counterpoint in Eighteenth-Century Germany) is on the relationship between the aesthetics of counterpoint and German learned musicians’ attempts to reconceive their professional roles over the course of the eighteenth century. The second (Types of Musical Sublimity in the Eighteenth-Century) describes the different ideals of sublimity in circulation during the long eighteenth century and elaborates on their musical implications and manifestations. He is also at work with Andrew Clark (Fordham University) on a second co-edited book entitled Speaking of Music. This book examines the ways that scholars in different disciplines speak about music. Other publication projects include commissioned book chapters on the ‘topic’ of the learned style in the eighteenth-century, on classicism and neo-classicism, and on music theory and visual culture in late eighteenth-century Germany.
He has given pre-performance lectures at the San Francisco Opera and was a regular contributor on the programme Upbeat for Radio New Zealand Concert. He has served as Editor of Eighteenth-Century Music, Associate Editor of 19th-Century Music, and as a member of the editorial board of Acta musicologica. He currently sits on the editorial boards of Eighteenth-Century Music and 19th-Century Music.
He has taught a variety of courses on seventeenth and eighteenth-century music history, as well as advanced courses combining analysis and aesthetics with such focuses as Mozart’s string quartets, eighteenth-century definitions of sublimity, and early twentieth-century performance style (e.g., Furtwängler and Klemperer).
Keith Chapin is coordinator for Erasmus and International Programmes at the Cardiff University School of Music.
He has been elected Ordinary Member of Council of the Royal Musical Association for a term of three years (2013-2015).
Phone: +44 (0)29 2087 0925
Address: Cardiff University
School of Music
Corbett Rd
Cardiff CF10 3EB
United Kingdom
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Books by Keith Chapin
By addressing different perspectives and traditions that form and inform the speaking of music in Western culture—musical, literary, philosophical, semiotic, political—this volume offers a unique and snapshot of today’s scholarship on speech about music. All from the points of view of their own disciplines, the experts here treat the variety of types of speech about music and musical speech, from historical to contemporary, mundane to specialized. Even as they diverge and differ in their approaches, the scholars coalesce in adumbrating common issues and developing certain topoi: physicality and performance, limits and supplements, ineffability and space, and so forth. These common topoi, discussed in the introduction, show the ways that this subject continues to resonate in tones particular to the twenty-first century
The range of considerations and material is wide. Among others, they include the words used to interpret musical works (such as those of Beethoven), the words used to channel musical practices (whether Bach’s, Rousseau’s, or Hispanic political protesters’), and the words used to represent music (whether in a dialogue by Plato, a story by Balzac, or in an Italian popular song). The contributors consider the ways that music may slide by words, as in the performance of an Akpafu dirge or in Messiaen, and the ways that music may serve as an embodied figure, as in the writings of Diderot or in the sound and body art of Henri Chopin. The book concludes with an essay by Jean-Luc Nancy.
More Info: Co-edited with Dr. Andrew Clark, Modern Languages and Literatures, Fordham University To apper in 2013 with Fordham University Press Contributors include Per Aage Brandt, Keith Chapin, Andrew H. Clark, Matthew Gelbart, John T. Hamilton, Lawrence Kramer, Jairo Moreno, Jean-Luc Nancy, Laura Odello, Tracy B. Strong, Peter Szendy, Sander van Maas, Kiene Brillenburg Wurth, and Lawrence M. Zbikowski.
Research Interests: Cognitive Science, Comparative Literature, Philosophy, Philosophy Of Language, Aesthetics, Plato, Music and Language, Jean-Luc Nancy, Political Science, Music Aesthetics, Beethoven, Genre Theory, J S Bach, Jean Jaques Rousseau, Humanism, Anti-Humanism, and Post-Humanism, Henri Chopin, Diderot, Denis, Honoré de Balzac, and Olivier Messiaen
By addressing different perspectives and traditions that form and inform the speaking of music in Western culture—musical, literary, philosophical, semiotic, political—this volume offers a unique and snapshot of today’s scholarship on speech about music. All from the points of view of their own disciplines, the experts here treat the variety of types of speech about music and musical speech, from historical to contemporary, mundane to specialized. Even as they diverge and differ in their approaches, the scholars coalesce in adumbrating common issues and developing certain topoi: physicality and performance, limits and supplements, ineffability and space, and so forth. These common topoi, discussed in the introduction, show the ways that this subject continues to resonate in tones particular to the twenty-first century
The range of considerations and material is wide. Among others, they include the words used to interpret musical works (such as those of Beethoven), the words used to channel musical practices (whether Bach’s, Rousseau’s, or Hispanic political protesters’), and the words used to represent music (whether in a dialogue by Plato, a story by Balzac, or in an Italian popular song). The contributors consider the ways that music may slide by words, as in the performance of an Akpafu dirge or in Messiaen, and the ways that music may serve as an embodied figure, as in the writings of Diderot or in the sound and body art of Henri Chopin. The book concludes with an essay by Jean-Luc Nancy.
Papers by Keith Chapin
By addressing different perspectives and traditions that form and inform the speaking of music in Western culture—musical, literary, philosophical, semiotic, political—this volume offers a unique and snapshot of today’s scholarship on speech about music. All from the points of view of their own disciplines, the experts here treat the variety of types of speech about music and musical speech, from historical to contemporary, mundane to specialized. Even as they diverge and differ in their approaches, the scholars coalesce in adumbrating common issues and developing certain topoi: physicality and performance, limits and supplements, ineffability and space, and so forth. These common topoi, discussed in the introduction, show the ways that this subject continues to resonate in tones particular to the twenty-first century
The range of considerations and material is wide. Among others, they include the words used to interpret musical works (such as those of Beethoven), the words used to channel musical practices (whether Bach’s, Rousseau’s, or Hispanic political protesters’), and the words used to represent music (whether in a dialogue by Plato, a story by Balzac, or in an Italian popular song). The contributors consider the ways that music may slide by words, as in the performance of an Akpafu dirge or in Messiaen, and the ways that music may serve as an embodied figure, as in the writings of Diderot or in the sound and body art of Henri Chopin. The book concludes with an essay by Jean-Luc Nancy.
More Info: Co-edited with Dr. Andrew Clark, Modern Languages and Literatures, Fordham University To apper in 2013 with Fordham University Press Contributors include Per Aage Brandt, Keith Chapin, Andrew H. Clark, Matthew Gelbart, John T. Hamilton, Lawrence Kramer, Jairo Moreno, Jean-Luc Nancy, Laura Odello, Tracy B. Strong, Peter Szendy, Sander van Maas, Kiene Brillenburg Wurth, and Lawrence M. Zbikowski.
Research Interests: Cognitive Science, Comparative Literature, Philosophy, Philosophy Of Language, Aesthetics, Plato, Music and Language, Jean-Luc Nancy, Political Science, Music Aesthetics, Beethoven, Genre Theory, J S Bach, Jean Jaques Rousseau, Humanism, Anti-Humanism, and Post-Humanism, Henri Chopin, Diderot, Denis, Honoré de Balzac, and Olivier Messiaen
By addressing different perspectives and traditions that form and inform the speaking of music in Western culture—musical, literary, philosophical, semiotic, political—this volume offers a unique and snapshot of today’s scholarship on speech about music. All from the points of view of their own disciplines, the experts here treat the variety of types of speech about music and musical speech, from historical to contemporary, mundane to specialized. Even as they diverge and differ in their approaches, the scholars coalesce in adumbrating common issues and developing certain topoi: physicality and performance, limits and supplements, ineffability and space, and so forth. These common topoi, discussed in the introduction, show the ways that this subject continues to resonate in tones particular to the twenty-first century
The range of considerations and material is wide. Among others, they include the words used to interpret musical works (such as those of Beethoven), the words used to channel musical practices (whether Bach’s, Rousseau’s, or Hispanic political protesters’), and the words used to represent music (whether in a dialogue by Plato, a story by Balzac, or in an Italian popular song). The contributors consider the ways that music may slide by words, as in the performance of an Akpafu dirge or in Messiaen, and the ways that music may serve as an embodied figure, as in the writings of Diderot or in the sound and body art of Henri Chopin. The book concludes with an essay by Jean-Luc Nancy.