Professor David Trippett

Key publications

Books:

• Wagner in Context, ed. David Trippett (Cambridge University Press, 2021)

• Nineteenth-Century Opera and the Scientific Imagination, ed. David Trippett and Benjamin Walton (Cambridge University Press, 2019)

• The Cambridge Companion to Music in Digital Culture, ed. Nicholas Cook, Monique Ingals, and David Trippett (Cambridge University Press, 2019)

• Wagner’s Melodies: Aesthetics and Materialism in German Musical Identity (Cambridge University Press, 2013), 448pp

• Editor and translator of Carl Stumpf, The Origins of Music (Oxford University Press, 2012), 290pp

Journal editor:

• Guest editor, 19th-Century Music (2019), special edition "After Idealism" 98pp
• co-editor with Anne Shreffler of Musiktheorie 3 (2009), special edition “Rudolf Kolisch in Amerika - Aufsätze und Dokumente” 288pp

Editions:

•  Franz Liszt, Sardanapalo, Act 1 (Fragment), ed. David Trippett, Neue Liszt Ausgabe (Editio Musica, 2019)

• Franz Liszt, Sardanapalo - an Opera Fragment in One Act, ed. and orch. David Trippett (Schott Music, 2019)

Journal articles:

• "Ideas and Matter," 19th-Century Music (2019), 63-66
• "Sound as Hermeneutic, or: Helmholtz and the Quest for Objective Perception," 19th-Century Music (2019), 99-120
• “An Uncrossable Rubicon: Liszt’s Sardanapalo revisited,” Journal of the Royal Music Association (2018), 361-432
• "Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation,” Musical Quarterly (2018), 199-261
• “Towards a materialist history of music: histories of sensations,” Franklin Humanities Institute, Duke University (2017)
• “Exercising Musical Minds: Music and Phrenology in London, ca. 1830,” 19^th-Century Music 39 (2015), 99-124
•  “Facing Reality: where Media do not Mix” Cambridge Opera Journal 26 (2014), 41-64
• “Sensations of Listening in Helmholtz’s Laboratory” [review article], Studies in History and Philosophy of Science 48 (2014): 124-32
•  “’Bayreuth in Miniature’: Wagner and the Melodramatic Voice,” Musical Quarterly 95/1 (2012): 71-138
• “Lohengrin at the Weimar Hoftheater: the Politics of a Premiere,” Journal of the American Liszt Society (2011): 135-58
• “Wagner Studies and the ‘Parallactic Drift’” [review article], Cambridge Opera Journal 22 (2011): 235-55
•  “The Composer’s Rainbow: Rudolf Kolisch and the limits of Rationalization,” Musiktheorie 3 (2009): 228-37
• “Après une lecture de Liszt: Virtuosity and Werktreue in the ‘Dante’ Sonata,” 19^th-Century Music 32 (2008): 52-93
• “Composing Time: Zeno’s Arrow, Hindemith’s Erinnerung, and Satie’s Instantanéisme,” Journal of Musicology 24 (2007): 522-580

Book chapters:

• "Liszt and Wagner", Liszt in Context, ed. Joanne Cormac (Cambridge: Cambridge University Press, 2021), 38-47.
• "Human Sounds and the Obscenity of Information," Rethinking Music through Science and Technology Studies, ed. Christophe Levaux and Antoine Hennion (Routledge, 2021), in production
• “Beyond the Schröder-Devrient Myth: Wagnerian Melody as Praxis,” Worttonmelodie: Die Herausforderung, Wagner zu singen, ed. Isolde Schmidt-Reiter (Vienna: Europaische Musiktheater-Akademie 2020), 119-56
• “Wagner’s Sublime Effects: Bells, Cannon and the Perception of Heavy Sound,” Music and the Sonorous Sublime in European Culture, 1680-1880, ed. Sarah Hibberd and Miranda Stanyon (Cambridge: Cambridge University Press, 2020), 245-72
• “Wagner’s Ring in Operatic and Literary History,” The Cambridge Companion to Wagner’s ‘Der Ring des Nibelungen,’ ed. Mark Berry and Nicholas Vazsonyi (Cambridge: Cambridge University Press, 2020), 269-96
• "The Laboratory and the Stage" (co-authored with Benjamin Walton), in Nineteenth-Century Opera and the Scientific Imagination, ed. Trippett and Walton (Cambridge: Cambridge University Press, 2019), 1-18.
• “Digital Voices: Posthumanism and the Generation of Empathy,’” The Cambridge Companion to Music and Digital Culture, ed. Nicholas Cook, Monique Ingalls, and David Trippett (Cambridge: Cambridge University Press, 2019), 227-48
• "From distant sounds to aeolian ears: Ernst Kapp’s auditory prosthesis” Nineteenth-Century Opera and the Scientific Imagination, ed. David Trippett and Benjamin Walton (Cambridge: Cambridge University Press, 2019), 134-54
• “Melody,” Oxford Handbook of Critical Concepts in Music Theory, ed. Alexander Rehding and Steve Rings (New York: Oxford University Press, 2019), 401-40
• “Individuation as Worship: Wagner and Shakespeare,” in Great Shakespeareans: Berlioz, Verdi, Wagner, Britten, ed. Daniel Albright (London and New York: Continuum, 2012), 135-157
• “Defending Wagner’s Italy,” The Legacy of Richard Wagner, ed. Luca Sala (Turnhaut: Brepols, 2012), 363-98
• “Carl Stumpf: A Reluctant Revolutionary,” in The Origins of Music, ed. and trans. David Trippett (Oxford: Oxford University Press, 2012), 17-30
•  “Letters to a Young Composer About Wagner,” introduction and translation of excerpts from Johann Christian Lobe's "Briefe über Wagner an einen jungen Komponisten," in Wagner and his World, ed. Thomas Grey (Princeton University Press, 2009), 269-310
• “The Overture to Tannhäuser,” introduction, annotation, and edition of portions from Liszt's essay “Lohengrin et Tannhäuser de Richard Wagner” in Wagner and his World, ed. Thomas Grey (Princeton University Press, 2009), 251-68

CD:

• Franz Liszt: Sardanapalo - Mazeppa, Kirill Karabits (cond.), Joyce El-Khoury (sop), Airam Hernández (ten), Oleksandr Pushniak (bass), Staatskapelle Weimar (Audite 97.764)

Reviews & Review Articles:

in  Musicae Sciential, Sounds Studies, Nineteenth-Century Music Review, Cambridge Opera Journal, The Wagner Journal, Notes