| 1 | Name: | Dr. Katharine Ellis | |
| Institution: | University of Cambridge | ||
| Year Elected: | 2017 | ||
| Class: | 4. Humanities | ||
| Subdivision: | 401. Archaeology | ||
| Residency: | International | ||
| Living? : | Living | ||
| Birth Date: | 1963 | ||
Katharine Ellis is best known for her pioneering work on the cultural history of music in France during the long nineteenth century. Her research straddles musicology, history and French studies, and covers musical repertoires ranging from medieval plainchant to 20th-century modernism. She seeks to explain the cultural import of musical tastes and practices, while also asking how those in the art-worlds of music negotiated France’s complex aesthetic, social and regulatory frameworks. In journal articles and book chapters she has published widely on the history of music and education, on women's musical careers, on opera and its institutions, on Paris−province relations, and on musical fiction. Her monographs embrace reception history and canon-formation via the historical press (Music Criticism in Nineteenth-Century France, 1995), the early music revival (Interpreting the Musical Past, 2005), and the tangled web of Benedictine musical politics and Church/State relations around 1900 (The Politics of Plainchant in fin-de-siècle France, 2013). Two co-edited collections address the pan-European career of Hector Berlioz (The Musical Voyager, 2008) and text/music relations in the long nineteenth century (Words & Notes, 2013). After degrees in Music at Oxford, a Junior Research Fellowship in French Studies at St Anne’s College, Oxford, lectureships at the Open University and Royal Holloway University of London, and chairs at the Universities of London and Bristol, Katharine Ellis is 1684 Professor at the Faculty of Music in Cambridge. She has acted as joint and solo editor for Music & Letters and the Journal of the Royal Musical Association respectively, and has been a joint guest editor of Dix-neuf. She currently sits on several editorial boards in France and the UK, and is a series editor for Boydell & Brewer’s ‘Music in Society and Culture’ monographs. She co-directs the Francophone Music Criticism 1789-1914 international network www.fmc.ac.uk, was inaugural Director of the Institute of Musical Research at the University of London’s School of Advanced Study (2006-2009), and was recently (2017) elected as a Director-at-Large of the American Musicological Society. She has received major funding awards from the Arts and Humanities Research Council of the UK, the British Academy, and the Leverhulme Foundation. She was elected to the Academia Europaea in 2010 and became a Fellow of the British Academy in 2013. | |||