Department of Music
   
   
  

If you wish to get in touch with our administrative staff, please see the admin staff contact page.

Image of Philip Weller

Philip Weller

Assistant Professor, Faculty of Arts

Contact

Expertise Summary

Philip's chief research specialism has been centred on French music of the 17th and 18th centuries, especially the history of opera between Lully and Gluck. This area relates both to his studies of the French tradition in general (extending as far as Debussy and Messiaen) and to his interest in opera as a genre. He has also published extensively on medieval and renaissance music, including recent articles on Lassus (quatercentenary conference proceedings, 1996), Binchois (Music and Letters, 1996) and medieval/ renaissance historiography (JAMS, 1997). His other research interests include the field of music and language, and the related topics of the lied and mélodie.

Research Summary

French music of the 17th and 18th centuries, especially the history of opera between Lully and Gluck. This area relates both to his studies of the French tradition in general (extending as far as… read more

Recent Publications

  • WELLER, P.H., 2017. Renaissance Musician Networks and Print Culture in Venice: The Case of Willaert, Gabrieli, Molino, and their friends. In: SHEPHARD, T. AND COLTON, L., ed., Sources of Identity SHEPHARD, T. and COLTON, L.. Brepols. 261-278 (In Press.)
  • KIRKMAN, A. AND WELLER, P.H., 2017. Music and Image/ Image and Music: the Creation and Meaning of Visual-Aural Force Fields in the Later Middle Ages: The Creation and Meaning of Visual-Aural Force Fields in the Later Middle Ages Early Music. not yet available, (In Press.)
  • 2017. Werner Herzog and the filmic Dark Arts: myth, truth, music and the life of Carlo Gesualdo (1566 – 1613). In: Representing Early Music on Stage and Screen Routledge. (In Press.)
  • WELLER, P.H., 2015. The Mass and Office of St John of Bridlington. In: WESTON, P. AND WESTON, D., ed., Bridlington Priory in its Historical Context, 1113-2013 Bridlington Priory. 50-,83, 128-131

Current Research

French music of the 17th and 18th centuries, especially the history of opera between Lully and Gluck. This area relates both to his studies of the French tradition in general (extending as far as Debussy and Messiaen) and to his interest in opera as a genre.

  • WELLER, P.H., 2017. Renaissance Musician Networks and Print Culture in Venice: The Case of Willaert, Gabrieli, Molino, and their friends. In: SHEPHARD, T. AND COLTON, L., ed., Sources of Identity SHEPHARD, T. and COLTON, L.. Brepols. 261-278 (In Press.)
  • KIRKMAN, A. AND WELLER, P.H., 2017. Music and Image/ Image and Music: the Creation and Meaning of Visual-Aural Force Fields in the Later Middle Ages: The Creation and Meaning of Visual-Aural Force Fields in the Later Middle Ages Early Music. not yet available, (In Press.)
  • 2017. Werner Herzog and the filmic Dark Arts: myth, truth, music and the life of Carlo Gesualdo (1566 – 1613). In: Representing Early Music on Stage and Screen Routledge. (In Press.)
  • WELLER, P.H., 2015. The Mass and Office of St John of Bridlington. In: WESTON, P. AND WESTON, D., ed., Bridlington Priory in its Historical Context, 1113-2013 Bridlington Priory. 50-,83, 128-131
  • WELLER, P.H., 2013. Messiaen, the Cinq Rechants and 'spiritual violence'. In: DINGLE, C.P. and FALLON, R., eds., Messiaen perspectives 1: sources and influences Ashgate. 279-312
  • WELLER, P.H., 2013. Ballet: Interactions of Music and Visual Style. In: SHEPHARD, T. and LEONARD, A., eds., The Routledge Companion to Music and Visual Culture Routledge. (In Press.)
  • WELLER, P., 2013. Music as attribute: idea, image, sound. In: SHEPHARD, T. and LEONARD, A.R., eds., The Routledge companion to music and visual culture Routledge. 111-119
  • WELLER, P.H., 2012. Some Ways of the Motet: Obrecht and the Paths of Five-Voice Composition. In: SCHMIDT-BESTE, T., ed., The motet around 1500: on the relationship of imitation and text treatment? Brepols. 247-275
  • WELLER, P.H., 2011. Sighting the Obrechtian Motet Journal of the Alamire Foundation. 3(1), 37-51
  • WELLER, P.H., 2007. <i>Vox - littera - cantus</i>: aspects of voice and vocality in medieval song. In: BAILEY, T. and SANTOSUOSSO, A., eds., Music in medieval Europe: studies in honour of Bryan Gillingham Aldershot: Ashgate. 239-262
  • WELLER, P.H., 2007. Cécile Sauvage:<i> L'Ame en bourgeon/The Budding Soul</i>: translation and afterword. In: DINGLE, C. and SIMEONE, N., eds., Olivier Messiaen: music, art and literature Aldershot: Ashgate. 191-278
  • WELLER, P.H., 2007. Ways of the new: Zemlinsky in the light of history. In: FRITH, M., ed., Zemlinsky studies London: Middlesex University Press. 31-56
  • WELLER, P.H., 2005. Symbolist opera: trials, triumphs, tributaries. In: COOKE, M., ed., The Cambridge companion to twentieth-century opera Cambridge: Cambridge University Press. 60-84
  • WELLER, P.H., 2004. The British Society for Eighteenth-Century Studies: Thirty-Second Annual Conference, Oxford, 3-5 January 2003, Review in Eighteenth-Century Music vol. I/1, pp. 133-137. Cambridge University Press.
  • WELLER, P.H., 2003. [with Pascall, R.J.], Flexible Tempo and Nuancing in Orchestral Music: Understanding Brahms's view of interpretation in his Second Piano Concerto and Fourth Symphony. In: MUSGRAVE, M. and SHERMAN, B., eds., Performing Brahms: Early Evidence of Performance Style Cambridge, Cambridge University Press. 220-43
  • WELLER, P.H. and PASCALL, R.J., 2001. 'Vom Standpunkte des tiefreligiösen Menschen und des Künstlers': Textverarbeitung und rhetorisch-szenische Darstellung in 'Das Buch mit sieben Siegeln' von Franz Schmidt. In: OTTNER, C., ed., Apokalypse: Symposion 1999 Vienna: Doblinger. 183-220
  • WELLER, P.H. and PASCALL, R.J., 2001. Das Apokalyptische in Brahms' "Ein Deutsches Requiem" Begriff und musikalische Darstellung. In: OTTNER, C., ed., Apokalypse: Symposion 1999 Vienna, Doblinger. 117-134
  • WELLER, P.H., 2001. Reference articles on 'Goethe, J. W. von' and on eighteenth-century French musicians. In: SADIE, S. and TYRRELL, J., eds., The New Grove Dictionary of Music and Musicians, Revised Edition London, MacMillan Publishers Ltd.
  • WELLER, P.H., 2000. Sound -- Silence -- Space: between Segalen and Debussy. In: FORSDICK, C. and MARSON, S., eds., Segalen: Reading Diversity / Lectures du Divers Glasgow: University of Glasgow French and German Publications. 115-142
  • WELLER, P.H., 2000. "Rites of Passage: 'Nove cantum melodie', the Burgundian Court and Binchois's Early Career". In: KIRKMAN, A. and SLAVIN, D., eds., Binchois Studies Oxford, Oxford University Press. 49-83
  • WELLER, P.H., 1998. An Old Head on Young Shoulders [review-article of CD recordings of the 'Missa Caput' and the 'Missa Veterem Hominem'] Early Music. vol. 26(no. 2), 353-357
  • WELLER, P.H., 1997. "Voltaire's intervention in the stage practice of his time: encounters with stage declamation in 'trage'die' and 'trage'die en musique'". In: KO"LVING, U. and MERVAUD, C., eds., Voltaire et ses combats: Actes du colloque international Oxford-Paris 1994 Voltaire Foundation, Oxford. 1457-1469
  • WELLER, P.H., 1997. Frames and Images: Locating Music in Cultural Histories of the Middle Ages Journal of The American Musicological Society. 50(1), 7-54
  • WELLER, P.H., 1997. Le Jeune and Janequin: review of CD recordings of music by Claude Le Jeune and Clément Janequin Early Music. 25, 506-509
  • WELLER, P.H., 1997. Gerald of Wales's View of Music/Golwg Gerallt Gymro ar Gerddoriaeth Welsh Music History Journal. 2, 1-32/33-64
  • WELLER, P.H., 1996. [with Kirkman, A.], Binchois's Texts Music and Letters. vol. 77(no. 4), 566-596
  • WELLER, P.H., 1995. Lasso, Man of the Theatre. In: , ed., Orlandus Lassus and his Times Peer (Belgium), Alamire. 89-127
  • WELLER, P.H., 1994. 'Stylization and Power: Declamation and the rhetorical moment in "trage'die" and "trage'die en musique"' Seventeenth-Century French Studies. 16, 179-194
  • WELLER, P.H., 1994. Review of Giovanni Santinello, `Tradizione e dissenso nella filosofia veneta' Bulletin of the Society for Renaissance Studies.

Department of Music

The University of Nottingham
Lakeside Arts Centre
University Park
Nottingham, NG7 2RD

Admission enquiries
All other enquiries
Telephone: +44 (0)115 951 5841
Email: music-enquiries@nottingham.ac.uk