Katharine Ellis
Biographic Data
| ID | 3861374 |
|---|---|
| NAME | Katharine Ellis |
| GIVEN NAMES | Katharine |
| FAMILY NAME | Ellis |
| SIGNATURE | ELLIS K |
| AFFILIATIONS | University of Cambridge |
| ORCID | 0000-0001-5431-584X |
| VERIFIED | No |
| TOTAL WORKS | 31 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 29 |
| WORKS AS EDITOR | 2 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
The Cambridge Companion to Folk Music
A groundbreaking critical introduction to folk music and song focused on questions of identity, community, representation, politics, and popular culture. Written by a distinguished international team of authors, this Companion is an indispensable resource for rethinking the confluence of sound, heritage, and identity in the twenty-first century. A unique addition to the literature, it highlights the fundamentally hybrid and (post)colonial dynamic…
Singing through Anticlerical Storms
Amid nationwide debates in Third Republic France as to whether good Catholics could serve the church but also “rally” to the Republic, a project to set up a municipal/national music school in Moulins, to the financial detriment of the local cathedral choir school, suggests an environment of straightforward musical and confessional antagonism. The close-up view is more complex, however. Long-standing alliances among musicians and clerics turn out …
Wagner in Context
Jean Nattiez, critique musical à Amiens, 1946-1963. Les défis de la reconstruction musicale de l’après-guerre
Les études sur les critiques musicaux du xx e siècle ont rarement pris en compte les figures régionales dans des contextes nationaux centralisés, sans doute car leurs liens avec les capitales, la musique contemporaine et les pratiques modernes sont trop faibles. Pourtant, historiquement parlant, c’est à travers ces figures que nous pouvons voir se déployer la vie musicale de la majorité (provinciale). Cet article se concentre sur l’oeuvre de Jean…
La Musique religieuse en France au XIXe siècle
Over the last few years it has been possible to discern a significant increase of musicological interest in French sacred music (and French sacred musicking) of the nineteenth and early twentieth centuries. The pioneering work of Jean-Yves Hameline has been collected together as Sur le culte divin et la musique: Écrits rassemblés and relaunched posthumously in an edition by Achille Davy-Rigaux (Turnhout, 2020); that of Xavier Bisaro (who contribu…
Canonic Repertories and the French Musical Press
It has long been William Weber’s contention that France, and especially Paris, offers earlier indications of canon-formation than many scholars of European musical life care to acknowledge. With this book he presents eight case-study chapters focusing on the relative longevity in opera and concert programming of composers whose Parisian careers, taken together, span the late seventeenth century to the late nineteenth century. His approach takes i…
French Music in Britain 1830–1914 Paul J Rodmell
Given the long-standing contribution of the ‘Music in Nineteenth-Century Britain’ series to research on the fabled ‘Land without Music’, it comes as a shock to realize just how many basic questions still need answers. Paul Rodmell’s fourth book in the Routledge series, which has published forty-one titles since 2001, tackles French stage and concert music—repertories all but absent in general accounts of British musical life dominated by Italian …
Encyclopedia of Romantic Nationalism in Europe
This encyclopedia documents the presence and impact of nationalized cultural consciousness in European nationalism. It tracks how intellectuals, historians, philologists, novelists, poets, painters, folklorists, and composers, in an intensely collaborative transnational network, articulated the national identities and aspirations that would go on to determine European history and politics, with effects that are still felt today. Edited by Joep Le…
Researching Audience Behaviors in Nineteenth-Century Paris
This chapter starts by revisiting a now-familiar text: James H. Johnson’s book Listening in Paris (1995). On the basis of concert and opera reviews, images, and the paratexts of concert programs, Ellis reframes Johnson’s question “When did audiences fall silent?” as “Where and why did audiences fail to fall silent?” Multilayered answers show how (1) many of the noisier phenomena of the eighteenth century resurfaced in new guises from the 1850s on…
Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France
Olivier Halanzier, director of the Paris Opéra 1871–9, had a longer career and a higher professional profile than Parisian theatre directors who have been the object of sustained musicological interest. Halanzier is, however, a pivotal historical figure. First, he is an important lens through which to understand how Parisian disdain for French regional practice intersected with operatic canon-formation and the conceptualization of the new Palais …
Unintended consequences
The French legislation of 6 January 1864 which deregulated spoken and lyric theatre nationwide showed little sensitivity to the distinctive financial ecology of regional theatre. Its effects were precisely the opposite of those its architects intended, and caused most disruption to the very constituencies the legislation was intended to help. Comparative analysis of the immediate aftermath of this ‘liberté des théâtres’ reveals a state of near ch…
Music Criticism in Nineteenth-Century France
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
Fétis, François-Joseph
Wartel, Louis Emile
Fétis, Edouard
Fétis family
Wartel family
Wartel, (Atale) Thérèse
Wartel, Pierre François
Criticism
Fétis, Adolphe Louis Eugène
Gautier, Théophile
A Dilettante at the Opera
February 1800 marks a watershed in the history of French music criticism. On the sixth of that month, the Bertin brothers’ Journal des debats printed the first review of an opéra (Mehul’s Adrien) in the new critical form of the feuil leton-the ‘little page’. Separated by an emphatic horizontal line from the political (and thus censored) news above it, the feuilleton ran, uncensored, in its own domain across the bottom of the paper.
La Renaissance introuvable? Entre curiosite et militantisme
Reflections on the Development of Semiology in Music
Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France
Olivier Halanzier, director of the Paris Opéra 1871–9, had a longer career and a higher professional profile than Parisian theatre directors who have been the object of sustained musicological interest. Halanzier is, however, a pivotal historical figure. First, he is an important lens through which to understand how Parisian disdain for French regional practice intersected with operatic canon-formation and the conceptualization of the new Palais …
The Fair Sax
On 29 August 1865, an audience of critics and the general public gathered at the Salle Herz in Paris to witness and pass judgment on the results of an experiment set up three years earlier by the instrument manufacturer Alphonse Sax Jr, who aimed to demonstrate not only that women were capable of playing brass instruments, but that it was in their interests - on moral, health and potentially even career grounds - to do so. Although this concert o…
Reflections on the Development of Semiology in Music
Rewriting Don Giovanni , or ‘The Thieving Magpies’
Mozart's text has undergone no changes. Just as it is performed in the great cities of Germany and Italy, so will it be performed at the great Paris Opéra. ... The respect due to the memory of the illustrious master has not for an instant been forgotten in the staging of the French Don Juan . The slightest alteration has been outlawed as sacrilege
Music Criticism in Nineteenth-Century France
This book focuses on the musical writings in the daily and periodical press in France during the nineteenth century. It covers the criticism of a wide range of Western music, from c.1580 to 1880, explaining how composers such as Bach and Beethoven secured a permanent place in the repertory. In particular, Dr Ellis considers the music journalism of the Revue et Gazette musicale de Paris, the single most important specialist periodical of the mid-n…
Music criticism in nineteenth-century France
This book focuses on musical writings in the daily and periodical press in France during the nineteenth century. It covers the criticism of a wide range of Western music, from c. 1580 to 1880, explaining how composers such as Bach and Beethoven secured a permanent place in the repertory. In particular, Dr Ellis considers the music journalism of the Revue et Gazette musicale de Paris, the single most important specialist periodical of the mid nine…
Stop Press
The Fair Sax
On 29 August 1865, an audience of critics and the general public gathered at the Salle Herz in Paris to witness and pass judgment on the results of an experiment set up three years earlier by the instrument manufacturer Alphonse Sax Jr, who aimed to demonstrate not only that women were capable of playing brass instruments, but that it was in their interests - on moral, health and potentially even career grounds - to do so. Although this concert o…
Fétis, François-Joseph
Wartel, Louis Emile
Fétis, Edouard
Fétis family
Wartel family
Wartel, (Atale) Thérèse
Wartel, Pierre François
Criticism
Fétis, Adolphe Louis Eugène
Gautier, Théophile
A Dilettante at the Opera
February 1800 marks a watershed in the history of French music criticism. On the sixth of that month, the Bertin brothers’ Journal des debats printed the first review of an opéra (Mehul’s Adrien) in the new critical form of the feuil leton-the ‘little page’. Separated by an emphatic horizontal line from the political (and thus censored) news above it, the feuilleton ran, uncensored, in its own domain across the bottom of the paper.
La Renaissance introuvable? Entre curiosite et militantisme
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
Music Criticism in Nineteenth-Century France
Unintended consequences
The French legislation of 6 January 1864 which deregulated spoken and lyric theatre nationwide showed little sensitivity to the distinctive financial ecology of regional theatre. Its effects were precisely the opposite of those its architects intended, and caused most disruption to the very constituencies the legislation was intended to help. Comparative analysis of the immediate aftermath of this ‘liberté des théâtres’ reveals a state of near ch…
Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France
Olivier Halanzier, director of the Paris Opéra 1871–9, had a longer career and a higher professional profile than Parisian theatre directors who have been the object of sustained musicological interest. Halanzier is, however, a pivotal historical figure. First, he is an important lens through which to understand how Parisian disdain for French regional practice intersected with operatic canon-formation and the conceptualization of the new Palais …
Encyclopedia of Romantic Nationalism in Europe
This encyclopedia documents the presence and impact of nationalized cultural consciousness in European nationalism. It tracks how intellectuals, historians, philologists, novelists, poets, painters, folklorists, and composers, in an intensely collaborative transnational network, articulated the national identities and aspirations that would go on to determine European history and politics, with effects that are still felt today. Edited by Joep Le…
Researching Audience Behaviors in Nineteenth-Century Paris
This chapter starts by revisiting a now-familiar text: James H. Johnson’s book Listening in Paris (1995). On the basis of concert and opera reviews, images, and the paratexts of concert programs, Ellis reframes Johnson’s question “When did audiences fall silent?” as “Where and why did audiences fail to fall silent?” Multilayered answers show how (1) many of the noisier phenomena of the eighteenth century resurfaced in new guises from the 1850s on…
Canonic Repertories and the French Musical Press
It has long been William Weber’s contention that France, and especially Paris, offers earlier indications of canon-formation than many scholars of European musical life care to acknowledge. With this book he presents eight case-study chapters focusing on the relative longevity in opera and concert programming of composers whose Parisian careers, taken together, span the late seventeenth century to the late nineteenth century. His approach takes i…
Art (22 works) · Historical Studies and Socio-cultural Analysis (12 works) · History (11 works) · Literature (10 works) · Art history (9 works) · Musicology and Musical Analysis (8 works) · Law (7 works) · Political science (7 works) · Opera (6 works) · Computer Science (5 works)