Dr Nicole Grimes

Personal profile

Nicole Grimes studied historical musicology at Trinity College Dublin (TCD) and Ludwig Maximilians University, Munich. She was awarded a PhD at TCD in 2008 for her dissertation “Brahms’s Critics: Continuity and Discontinuity in the Critical Reception of Johannes Brahms.” Her research focuses at the intersection between nineteenth- and twentieth-century German music criticism, music analysis and music aesthetics. She is currently writing a book called "Brahms’s Elegies: The Poetics of Loss in German Culture," which is concerned with the reciprocal relationship between Brahms’s music and the Austro-German intellectual tradition. 

Nicole has published widely on nineteenth-century music and aesthetics in various peer-review journals including *Music Analysis*, and *Nineteenth-Century Music Review*, amongst others. She is co-editor of "Rethinking Hanslick: Music, Formalism and Expression" (Eastman Studies in Music Series, Rochester: University of Rochester Press, 2013) with Siobhán Donovan and Wolfgang Marx, and co-editor of "Mendelssohn Perspectives" (Aldershot: Ashgate, 2012) with Angela R. Mace. In 2011, Nicole was awarded an International Outgoing Marie Curie Fellowship by the European Commission (2011–14) which she held jointly at the University of California, Irvine (UCI) and University College Dublin (UCD). Her research has also been funded by the Irish Research Council for the Humanities and Social Sciences (University College Dublin 2009–2010), the DAAD—German Academic Exchange Service (Humboldt University Berlin, 2007–2008), and the Taylor Bequest (TCD, 2005). Before joining the faculty at Royal Holloway, University of London, she taught music history at University College Dublin, Trinity College Dublin, Queen’s University Belfast, and University of California, Irvine.

 

Research interests

Books

Rethinking Hanslick: Music, Formalism, and Expression, ed.Nicole Grimes, Siobhán Donovan, and Wolfgang Marx (Rochester: University of Rochester Press, 2013; Paperback edition available, April 2015).

 

Mendelssohn Perspectives, ed.Nicole Grimes and Angela R. Mace (Aldershot: Ashgate, 2012).

 

Peer-review articles

“Brahms’s Ascending Circle: Hölderlin, Schicksalslied, and the Process of Recollection,” Nineteenth-Century Music Review 11/1 (July 2014): 1–36.

 

“Eduard Hanslick,” Oxford Bibliographies Online (Oxford: Oxford University Press, 2014).

 

“The Schoenberg/Brahms Critical Tradition Reconsidered,” Music Analysis 31/ii–iii (Autumn 2012): 127–75.

 

“Brahms’s Poetic Allusions through Hanslick’s Critical Lens,” American Brahms Society Newsletter 29/2 (Autumn 2011): 5–9.

 

 “A Critical Inferno? Hoplit, Hanslick, and Liszt’s Dante Symphony,” Journal of the Society for Musicology in Ireland 7 (2011–12): 3–22.

 

“‘Come Rise to Higher Spheres!” Tradition Transcended in Brahms’s Violin Sonata in G Major, Op. 78,” in Ad Parnassum: A Journal of Eighteenth-and Nineteenth-Century Instrumental Music 6/11 (April 2009): 129–152 [with Dillon R. Parmer].

 

“In Search of Absolute Inwardness and Spiritual Subjectivity? The Historical and Ideological Context of Schumann’s ‘Neue Bahnen’,” International Review for the Aesthetics and Sociology of Music 39/2 (December 2008): 139–163.

 

Book contributions

“The Sense of an Ending: Adorno, Brahms, and Music’s Return to the Land of Childhood,” Irish Musical Analysis (Irish Musical Studies,Vol. 11), ed. Gareth Cox and Julian Horton (Dublin: Four Courts Press, 2014), 104–24.

 

“German Liberalism, Nationalism, and Humanism in Hanslick’s Writings on Brahms,” in Nicole Grimes, Siobhán Donovan, and Wolfgang Marx, eds, Rethinking Hanslick: Music, Formalism, and Expression (Rochester: University of Rochester Press, 2013), 160–84.

 

“Chronology” and “Introduction,” in Nicole Grimes, Siobhán Donovan, and Wolfgang Marx, eds, Rethinking Hanslick: Music, Formalism, and Expression (Rochester: University of Rochester Press, 2013), xii–xiv, and 1–11 respectively.

 

“‘Wordless Judaism, Like the Songs of Mendelssohn’? Hanslick, Mendelssohn and Cultural Politics in Late Nineteenth-Century Vienna,” in Nicole Grimes and Angela R. Mace, eds, Mendelssohn Perspectives (Aldershot: Ashgate, 2012), 49–62.

 

“Introduction”(with Angela R. Mace), in Nicole Grimes and Angela R. Mace, eds, Mendelssohn Perspectives (Aldershot: Ashgate, 2012), 1–6.

 

Reviews

Constantin Floros, Free but Alone: A Life for Poetic Music, commissioned for Nineteenth-Century Music Review 9/2 (December 2012): 341–46.

 

Theophil Antonicek, Gernot Gruber and Christoph Landerer, eds, Eduard Hanslick zum Gedenken: Bericht des Symposiums zum Anlass seines 100. Todestags, commissioned for the Journal of the Society for Musicology in Ireland 7 (2011–2012): 67–76.

 

Walter Frisch and Kevin C. Karnes, eds, Brahms and His World (Princeton: Princeton University Press) commissioned for Music Analysis 31/1 (Spring 2011): 140–150.

 

Kevin C. Karnes, Music Criticism and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna, commissioned for the Journal of the Society for Musicology in Ireland 4 (2008–2009): 79–83.

 

Schoenberg, String Quartets, Aron Quartet with Anna Maria Pammer, sop., Preiser Records, PR 90572, commissioned for Nineteenth-Century Music Review 2/2 (2005): 220–22.

 

Translations

Theodor W. Adorno, “Brahms Aktuelle,” complete essay translated as an appendix to “The Sense of an Ending: Adorno, Brahms, and Music’s Return to the Land of Childhood,” Irish Musical Analysis (Irish Musical Studies,Vol. 11), ed. Gareth Cox and Julian Horton (Dublin: Four Courts Press, 2014), 121–24.

 

Felix Wörner, “Ottakar Hostinský, the Musically Beautiful, and the Gesamtkunstwerk,” in Rethinking Hanslick: Music, Formalism, and Expression, ed. Nicole Grimes, Siobhán Donovan and Wolfgang Marx (Rochester: University of Rochester Press, 2013), 70–87.

 

Anselm Hartinger, “Between Tradition and Innovation: Mendelssohn as Music Director and His Leipzig Bach Performances,” in Mendelssohn Perspectives, ed. Nicole Grimes and Angela R. Mace. (Translated with Angela R. Mace.), 145–60.

Teaching

During the 2014–15 academic year, Nicole will teach the following courses:

MU1110, Theory and Analysis

MU1111, Practical Musicianship

MU2002, Studies in Music History

MU5520, Techniques in Theory and Analysis

She is also Convenor for undergraduate dissertations.

 

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