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Professor Katharine Ellis

Professor Katharine Ellis

Incoming 1684 Professor of Music


Katharine Ellis has held Lectureships at the Open University and Royal Holloway, and chairs at the Universities of London and Bristol. A cultural historian of music in France during the 19th and early 20th centuries, she studies music ranging from medieval plainchant to Stravinsky. She seeks to explain the cultural import of musical tastes and practices, while also asking how those in the art-worlds of music negotiated France’s complex aesthetic, social and regulatory frameworks. Her books embrace canon-formation in the press (Music Criticism in Nineteenth-Century France, 1995), the early music revival (Interpreting the Musical Past, 2005), and the tangled web of Benedictine musical politics and Church/State relations c.1900 (The Politics of Plainchant in fin-de-siècle France, 2013). Her current, Leverhulme-funded project, reappraises the history of French musical life from provincial viewpoints. In 2006, Katharine became inaugural Director of the Institute of Musical Research, School of Advanced Study, University of London. Elected to the Academia Europaea in 2010, she became a Fellow of the British Academy in 2013, and was elected a Member of the American Philosophical Society in 2017.

Departments and Institutes

Selwyn College:

Key Publications


2013      The Politics of Plainchant in fin-de-siècle France. RMA Monographs series no. 20. Ashgate Publishing

2005       Interpreting the Musical Past: Early Music in Nineteenth-Century France

(pp. xxii + 298, Oxford University Press, New York & Oxford) [Revised paperback edn, 2008; available Oxford Scholarship Online, 2008]

1995                      Music Criticism in Nineteenth-Century France: ‘La Revue et Gazette musicale de Paris’, 1834-1880 (pp. xiii + 301, Cambridge University Press). [Paperback reissue  2007]




2013      Words & Notes in the Long Nineteenth Century, ed. with Phyllis Weliver. Boydell & Brewer ]


2007      The Musical Voyager: Berlioz in Europe, ed. with David Charlton. ‘Perspektiven der Opernforschung’, vol. 14 (xviii + 320, Bern: Peter Lang) ISBN 978-3-631-55343-5





2015      ‘Olivier Halanzier and the Operatic Museum in late Nineteenth-Century France’, Music & Letters 96/3, 390-417 [doi: 10.1093/ml/gcv043]

2013      ‘How to Make Wagner Normal: Lohengrin’s “tour de France” of 1891/92’, Cambridge Opera Journal 25/2, 121-137

2012      ‘Opera Criticism and the Paris Periodical Press’, Revue belge de musicologie, 66, 127-131

2012      ‘Mireille’s Homecoming? Gounod, Mistral and the Midi’, Journal of the American Musicological Society 65/2 (2012), 463-509 [doi: 10.1525/jams.2012.65.2.463]

2011      ‘Unintended Consequences: Theatre Deregulation and Opera in France, 1864-1878’, Cambridge Opera Journal 22/3 (2011), 327-352

2010      ‘Paris, 1866: In Search of French Music’, Music & Letters 91/4 (November 2010), 536-554 [doi: 10.1093/ml/gcq090]

2008      ‘The Making of a Dictionary: François-Joseph Fétis, Aristide Farrenc, and the Biographie universelle des musiciens’, in Revue belge de musicologie, 62, pp. 63-78

2004           ‘The Uses of Fiction: contes musicaux in Schlesinger’s Gazette musicale, 1834-44’, Revue de musicologie, 90/2, pp. 37-65

1999      ‘The Fair Sax: Women, Brass-Playing and the Musical Instrument Trade in 1860s Paris’, Journal of the Royal Musical Association 124/2, 65-98

1997      ‘Female Pianists and their Male Critics in Nineteenth-Century Paris’, Journal of the American Musicological Society 50/2-3, 353-385 [DOI: 10.2307/831838]

1994          ‘Rewriting Don Giovanni, or “The Thieving Magpies”’, Journal of the Royal Musical Association 119/2, 212-250




2017      ‘Music Criticism, Speech Acts, and Generic Contracts’, in Nineteenth-Century Music Criticism, ed. Teresa Cascudo García-Villaraco (Brepols: Turnhout, 2017), 3-22


2017       ‘Vive la différence? Rêves et enjeux du régionalisme’, in La Provence et le Languedoc à l’Opéra au XIXe siècle: cultures et représentations, ed. Jean-Christophe Branger & Sabine Teulon-Lardic (Publications de l’Université de Saint-Étienne, 2017), 109-134


2015      ‘Paris and the Provinces from the Revolution to World War I’, The Cambridge Companion to French Music, ed. Simon Trezise (Cambridge University Press), 362-378


2010      ‘Funding Opera in Regional France: Ideologies of the Mid-Nineteenth Century’, in Art and Ideology in European Opera, ed. Clive Brown, David Cooper and Rachel Cowgill (Woodbridge: Boydell & Brewer), 67-84

2009      ‘A “Bluffer’s Guide” to Chopin’s Romanticism’, in Chopin in Paris: the 1830s, ed. Artur Szklener (Warsaw: Narodowy Instytut Fryderyka Chopina), 239-269

2009      ‘Systems Failure in Operatic Paris: the Acid Test of the Théâtre-Lyrique’, in Music, Theater, and Cultural Transfer: Paris, 1830-1914, ed. Mark Everist & Annegret Fauser (University of Chicago Press), 49-71 [awarded the 2010 Ruth Solie Prize for best edited collection of 2009]

2008      ‘The Limits of Seriousness: Piano Sonatas in 1840s Paris’, in Chopin’s Musical Worlds: the 1840’s, ed. Artur Szklener (Warsaw: Narodowy Instytut Fryderyka Chopina), 9-37

2008      ‘Rameau in Nineteenth-Century Dijon: Memorial, Festival, Fiasco’, in Music, Culture and National Identity in France (1870-1939), ed. Barbara L. Kelly (University of Rochester Press), 197-214

2007          ‘A Tale of Two Societies: Class, Democratisation and the Regeneration of Early Choral Musics in France, 1861-74', in Les sociétés de musique en Europe, 1700-1920. Structures, pratiques musicales et sociabilités, ed. Hans Erich Bödeker & Patrice Veit (Berlin: Berliner Wissenschafts-Verlag, 2007), 269-288 

2006          ‘The Société des Concerts and the "Classical" Symphony, 1831-49', in Louise Farrenc und die Klassik-Rezeption in Frankreich, ed. Rebecca Grotjahn & Christin Heitmann (Oldenburg: BIS Verlag, 2006), 31-49

2006      ‘En route to Wagner: Explaining D’Indy’s Early Music Pantheon’, in Vincent d’Indy et son temps, ed. Manuela Schwartz (Sprimont: Mardaga), 111-121

2005      ‘Vocal Training at the Paris Conservatoire and the Choir Schools of Alexandre-Étienne Choron: Debates, Rivalries and Consequences’, in Musical Education in Europe (1770-1914): Compositional, Institutional, and Political Challenges, ed. Michael Fend & Michel Noiray (Berlin: Berliner Wissenschafts-Verlag), 125-144

2005          ‘Berlioz, the Sublime, and the Broderie Problem’, in Hector Berlioz. Miscellaneous Studies, ed. Fulvia Morabito and Michela Niccolai (Ad Parnassum Monographs, 1) (Bologna, Ut Orpheus Edizioni), 29-59

2005      ‘The Romantic Artist’, The Cambridge Companion to Liszt, ed. Kenneth Hamilton. (Cambridge University Press), 1-13.  Also translated by Héctor J. Sánchez as ‘Liszt: el artista romántico’ and reprinted in Quodlibet 40 (April 2008), 56-72

2004      ‘Las contingencias de la recuperación musical: Lully y Charpentier en el Paris de la década de 1870', trans. Luis Gago in Concierto barroco: estudios sobre música, dramaturgia e historia cultural, ed. Juan José Carreras & Miguel-Angel Marín (Logroño: University of La Rioja Press), 275-287

2002                          ‘The Structures of Musical Life’, The Cambridge History of Nineteenth-Century Music, ed. Jim Samson (Cambridge University Press), 343-370


2001      ‘The Operatic Aesthetic of Julien-Louis Geoffroy, 1743-1814', in Reading Critics Reading: Opera and Ballet Criticism from the Revolution to 1848, ed. Roger Parker & Mary Ann Smart (Oxford University Press), 46-68

2000          ‘Palestrina et la musique dite “palestrinienne” en France au XIXe siècle: questions d'exécution et de réception', in La renaissance et sa musique au XIXe siècle, ed. Philippe Vendrix (Paris: Klincksieck), 155-190

2000      ‘The Criticism’, The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge University Press), 157-163


1999      ‘Geschlechterrollen und Professionalismus: Pianistinnen im Paris des 19. Jahrhunderts’, in Professionalismus in der Musik. Arbeitstagung in Verbindung mit dem Heinrich-Schütz-Haus Bad Köstritz vom 22. bis 25. August 1996, ed. Christian Kaden & Volker Kalisch (Essen: Die blaue Eule), 275-284. Translated from English by the editors.

1999      ‘Wagnerism and Anti-Wagnerism in the Paris Periodical Press, 1852-70', in Von Wagner zum Wagnérisme: Musik, Literatur, Kunst, Politik, ed. Annegret Fauser & Manuela Schwartz (Leipzig Universitätsverlag), 51-83

Other Publications


2017       Oxford Bibliographies Online: ‘Western European Music Criticism, 1750-1950’

2017       ‘National-classical music, French’ Encyclopaedia of Romantic Nationalism in Europe, ed. Joep Leerssens

2016       ‘The Perils of the Composer-Critic’, The Berlioz Society Bulletin, no. 201 (December 2016), 21-41

2012          ‘Saint-Saëns and Rameau’s Keyboard Music’, Saint-Saëns and his World, ed. Jann Pasler (Princeton University Press, 2012, 266-270)

2012          Dossier de presse: ‘Gounod Mireille c.1900 (Midi)’, Francophone Music Criticism, 1789-1914    

2008       ‘Fétis’s Writings’, Revue belge de musicologie 62 (2008), 11-13

2008       ‘Sociology of Music’, Introduction to Music Studies, ed. Paul Harper-Scott & Jim Samson (CUP, 2008), 43-58

2007       Foreword, with David Charlton, to The Musical Voyager: Berlioz in Europe (Bern: Peter Lang, 2007), xi–xviii

1999       ‘Avant-propos méthodologique’, with Matthias Brzoska, in Von Wagner zum Wagnérisme: Musik, Literatur, Kunst, Politik, ed. Annegret Fauser & Manuela Schwartz (Leipzig Universitätsverlag, 1999), 35-37

1994‒    Dictionary entries: The New Grove Dictionary of Women Composers, ed. Julie Ann Sadie & Rhian Samuel, Macmillan, 1994; The Revised New Grove Dictionary of Music & Musicians, ed. Stanley Sadie & John Tyrrell, Macmillan, 2001; Dictionnaire-Berlioz (Paris, 2003); Dictionnaire de la musique en France au XIXe siècle, ed. Joël-Marie Fauquet (Paris, 2004); Berlioz Encyclopaedia, ed. Julian Rushton (2017)

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