Scholars@Duke

• Background
• 

  Education, Training, & Certifications

  • Ph.D., Yale University 1993
  • M.Phil., Yale University 1991
  • B.A., University of Cambridge (UK) 1988
• 

  Duke Appointment History

  • Associate Professor of Music, Music, Trinity College of Arts & Sciences 2006 - 2016
  • Director of Graduate Studies in the Music Department, Music, Trinity College of Arts & Sciences 2009 - 2012
• Recognition
• 

  Awards & Honors

  • Faculty Fellowship. National Endowment for the Humanities. 2013
  • Tonality 1900-1950: Concept and Practice, International Conference. National Endowment for the Humanities collaborative grant. October 2010
  • Duke/UNC Exchange Fellow. Institute for the Arts and Humanities, UNC-Chapel Hill. August 2008
  • Fellow. National Humanities Center. 2005
• Expertise
• 

  Global Scholarship

  • Expertise

    • United Kingdom (Country) 
• Research
• 

  Selected Grants

  • Music MD Biddle 2017 Proposal awarded by Mary Duke Biddle Foundation 2017
  • Tonality 1900-1950: Concept and Practice awarded by National Endowment for the Humanities 2010 - 2011
• Publications & Artistic Works
• 

  Selected Publications

  • Books

    • Woerner, F., U. Scheideler, and P. Rupprecht, eds. Tonality Since 1950. Stuttgart: Franz Steiner Verlag, 2017.
    • Rupprecht, P. British musical modernism: The Manchester group and their contemporaries, 2015. https://doi.org/10.1017/CBO9781139033350.
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    • Rupprecht, P., ed. Rethinking Britten. Oxford University Press, 2013.
    • Rupprecht, P., ed. Rethinking Britten. Oxford University Press, 2013.
    • Woerner, F., U. Scheideler, and P. Rupprecht, eds. Tonality 1900-1950: Concept and Practice. Stuttgart: Franz Steiner Verlag, 2012.
    • Woerner, F., U. Scheideler, and P. Rupprecht, eds. Tonality 1900-1950: Concept and Practice. Stuttgart: Franz Steiner Verlag, 2012.
    • Rupprecht, P. Britten’s Musical Language. Cambridge University Press, 2001.

  • Academic Articles

    • Rupprecht, P. “"Something slightly indecent": British composers, the European avant-garde, and national stereotypes in the 1950s.” Musical Quarterly 91, no. 3–4 (March 1, 2009): 275–326. https://doi.org/10.1093/musqtl/gdp003.
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    • Philip Rupprecht, P. “Above and beyond the bass: harmony and texture in George Benjamin’s Viola, Viola.” Tempo: A Quarterly Review of Modern Music 59 (April 2005): 28–38.
    • Philip Rupprecht, P. “Tonal stratification and Uncertainty in Britten’s music.” Journal of Music Theory 40, no. 2 (October 1996): 311–46.

  • Book Sections

    • Rupprecht, Philip. “Scenes from Britten's 'Spring Symphony'.” In Literary Britten, edited by Kate Kennedy. Woodbridge: Boydell, 2018.
    • Rupprecht, Philip. “Scenes from Britten's 'Spring Symphony'.” In Literary Britten, edited by Kate Kennedy. Woodbridge: Boydell, 2018.
    • Rupprecht, P. “Images in Sound: Movement, Harmony and Colour in the Early Music.” In The Music of Simon Holt, edited by D. Charlton. Woodbridge, Suffolk: Boydell, 2017.
    • Rupprecht, P. “Tonality Rediscovered: Oliver Knussen and the Musical ‘Object’ in the 1970s..” In Tonality Since 1950, edited by F. Woerner, U. Scheideler, and P. Rupprecht, 209--231. Stuttgart: Franz Steiner Verlag, 2017.
    • Rupprecht, P. “Tonality Rediscovered: Oliver Knussen and the Musical ‘Object’ in the 1970s..” In Tonality Since 1950, edited by F. Woerner, U. Scheideler, and P. Rupprecht, 209--231. Stuttgart: Franz Steiner Verlag, 2017.
    • Rupprecht, P. “Quickenings of the Heart: Notes on Rhythm and Tempo in Britten’s Music.” In Benjamin Britten Studies: Essays on an Inexplicit Art, edited by V. Stroeher and J. Vickers, 317–45. Woodbridge, Suffolk: Boydell Press, 2017.
    • Rupprecht, P. “Mechanical Song: Birtwistle’s Rhythmic Imagination.” In Birtwistle Studies, edited by David Beard, Kenneth Gloag, and Nicholas Jones. Cambridge Univ. Press, 2013.
    • Rupprecht, P. “Introduction: Britten’s Music and Its Audiences.” In Rethinking Britten, edited by Philip Rupprecht, xv–xxxi. Oxford University Press, 2013.
    • Rupprecht, P. “Agency Effects in the Instrumental Drama of Musgrave and Birtwistle.” In Music and Narrative Since 1900, edited by Michael L. Klein and Nicholas Reyland, 189–215. Indiana University Press, 2013.
    • Rupprecht, P. “Britten and the Avant-Garde in the 1950s.” In Rethinking Britten, edited by Philip Rupprecht, 131–55. Oxford University Press, 2013.
    • Lang, J., and P. Marquis. “Introduction,” 26:9–10, 2012.
    • Lang, J., and P. Marquis. “Introduction,” 26:9–10, 2012.
    • Lang, J., and P. Marquis. “Introduction,” 26:9–10, 2012.
    • Rupprecht, P. “Among the Ruined Languages: Britten’s Triadic Modernism, 1930-1940.” In Tonality 1900-1950: Concept and Practice, edited by Felix Woerner, Ullrich Scheideler, and Philip Rupprecht, 223–45. Stuttgart: Franz Steiner, 2012.
    • Rupprecht, P. “Thematic Drama in Early Peter Maxwell Davies: Op. 1 to the First Taverner Fantasia.” In Maxwell Davies Studies, edited by Kenneth Gloag and Nicholas Jones, 45–78. Cambridge University Press, 2009.
    • Rupprecht, P. “The Chamber Music.” In The Cambridge Companion to Benjamin Britten, edited by Mervyn Cooke, 245–59. Cambridge University Press, 1999.
    • Lazarus, G. S., and M. B. Hartzell. “Introduction,” Vol. 100, 1993.

  • Other Articles

    • Rupprecht, P. “Conference Report: Arnold Schoenberg Institute/Music Theory Society of New York State: Joint Meeting, Barnard College, Columbia University, October 1991.” Music Analysis, 1992.

  • Book Reviews

    • Rupprecht, P. “Review: Britten's Unquiet Pasts: Sound and Memory in Postwar Reconstruction, by Heather Wiebe.” Journal of the American Musicological Society. University of California Press, December 1, 2015. https://doi.org/10.1525/jams.2015.68.3.698.
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    • Rupprecht, Philip. “Edward Elgar, Serenade for Strings, op. 20, Score, edited by Christopher Hogwood (Kassel: Bärenreiter-Verlag, 2010), BA 9041, viii, 18 pp., with critical commentary and facsimile..” Nineteenth Century Music Review. Cambridge University Press (CUP), December 2013. https://doi.org/10.1017/s1479409813000463.
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    • Rupprecht, P. “British Music and Modernism, 1895-1960. Ed. by Matthew Riley..” Music and Letters. Oxford University Press (OUP), February 1, 2012. https://doi.org/10.1093/ml/gcr101.
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    • Rupprecht, P. “Review: Matthew Riley, ed., "British Music and Modernism, 1895-1960".” Music and Letters, 2012.
    • Rupprecht, P. “Review: Jonathan Cross, The Stravinsky Legacy.” Journal of the American Musicological Society, 2003.
    • Rupprecht, P. “Review: Anthony Pople, ed., Theory, Analysis and Meaning in Music.” Journal of Music Theory, 1997.
    • Rupprecht, P. “Review: Kyle Gann, The music of Conlon Nancarrow.” Institute for Studies in American Music Newsletter, 1997.
    • Rupprecht, P. “Review: Andrew Mead, An Introduction to the Music of Milton Babbitt.” Institute for Studies in American Music Newsletter, 1996.
• Teaching & Mentoring
• 

  Recent Courses

  • MUSIC 393: Research Independent Study 2019
  • MUSIC 562: Analysis of Music After 1900 2019
  • MUSIC 791: Independent Study 2019
  • AAAS 190S: Special Topics 2018
  • MUSIC 190S: Special Topics in Music 2018
  • MUSIC 501: Introduction to Musicology 2018
  • MUSIC 361: Theory and Practice of Tonal Music II 2017
• 

  Advising & Mentoring

  • Philip Rupprecht is actively advising Ph.D's in musicology and music analysis on a range of twentieth-century art musics.

  Available to mentor:

  • PhD
• Scholarly, Clinical, & Service Activities
• 

  Presentations & Appearances

  • A Public Conversation with Jeremy Denk (on Ives's Concord Sonata). Duke Performances. December 9, 2016  2016
  • Interview: Philip Rupprecht discusses his new book, British Musical Modernism. "Preview". WCPE.FM (public radio). December 2015  2015
  • Keynote Speaker, Benjamin Britten on Stage and Screen. December 30, 2013  2013
  • Keynote Speaker, MTSE (Music Theory Southeast). December 30, 2013  2013
  • Symposium: Benjamin Britten: Spheres of Influence. December 30, 2013  2013
  • Pre-Concert Lecture, Britten "Spring Symphony". December 24, 2012  2012
  • The Style of the New: British Music Between Avant-Garde and Pop. November 7, 2012  2012
  • “The baroqueness of the blues’ black notes”: remarks on Fred Moten’s B Jenkins.” Duke University Music Department colloquium, April 2010.. December 11, 2010  2010
  • Sad Pavens: Maxwell Davies and the British national past.” Duke Performances, public lecture with Ciompi Quartet, January 2010,. December 4, 2009  2009
• 

  Service to the Profession

  • Member : Society for Music Theory, National Program Committee. December 24, 2012  2012
  • Program Committee Member : Music Theory Southeast. January 2012  2012
  • Board Member, North American British Music Studies Association. December 11, 2010  2010
  • MTSMA Program Committee. December 2009  2009
  • Member, consulting panel : College Board AP Test in Music Theory. August 19, 2008  2008

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