Philip Rupprecht

Philip Rupprecht

Professor of Music

External Address: 
105 Biddle Music Building, Box 90665 Duke University, Durham, NC 27708-0665
Internal Office Address: 
Box 90665, Durham, NC 27708-0665
Phone: 
(919) 660-3300
Office Hours: 
MW 10-12  Appointments - email: cecelia.goldman@duke.edu

Philip Rupprecht specializes in music of the twentieth and twenty-first centuries. His recent writings engage concepts of narrative in operatic drama, the trope of stereotype in the formation of national traditions in music, and agency effects in instrumental music. His new book, British Musical Modernism, was published by Cambridge University Press in 2015.

Radio interview: Philip Rupprecht discusses his book British Musical Modernism

Education

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

Woerner, F., et al., editors. Tonality Since 1950. Franz Steiner Verlag, 2017.

Rupprecht, P. British musical modernism: The Manchester group and their contemporaries. 2015, pp. 1–492. Scopus, doi:10.1017/CBO9781139033350. Full Text

Rupprecht, P., editor. Rethinking Britten. Oxford University Press, 2013.

Woerner, F., et al., editors. Tonality 1900-1950: Concept and Practice. Stuttgart: Franz Steiner Verlag, 2012.

Rupprecht, P. Britten’s Musical Language. Cambridge University Press, 2001.

Rupprecht, P. “Review: Britten's Unquiet Pasts: Sound and Memory in Postwar Reconstruction, by Heather Wiebe.” Journal of the American Musicological Society, vol. 68, no. 3, University of California Press, 1 Dec. 2015, pp. 698–703. Crossref, doi:10.1525/jams.2015.68.3.698. Full Text

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, vol. 10, no. 2, Cambridge University Press (CUP), Dec. 2013, pp. 390–94. Crossref, doi:10.1017/s1479409813000463. Full Text

Rupprecht, P. “British Music and Modernism, 1895-1960. Ed. by Matthew Riley..” Music and Letters, vol. 93, no. 1, Oxford University Press (OUP), 1 Feb. 2012, pp. 103–06. Crossref, doi:10.1093/ml/gcr101. Full Text

Rupprecht, P. “Review: Matthew Riley, ed., "British Music and Modernism, 1895-1960".” Music and Letters, vol. 93, 2012, pp. 103–06.

Rupprecht, P. “Review: Jonathan Cross, The Stravinsky Legacy.” Journal of the American Musicological Society, vol. 56, 2003, pp. 498–507.

Rupprecht, P. “Review: Kyle Gann, The music of Conlon Nancarrow.” Institute for Studies in American Music Newsletter, vol. 27, 1997, pp. 5–7.

Rupprecht, P. “Review: Anthony Pople, ed., Theory, Analysis and Meaning in Music.” Journal of Music Theory, vol. 41, 1997, pp. 157–75.

Rupprecht, P. “Review: Andrew Mead, An Introduction to the Music of Milton Babbitt.” Institute for Studies in American Music Newsletter, vol. 25, 1996, pp. 12–14.

Rupprecht, Philip. “Scenes from Britten's 'Spring Symphony'.” Literary Britten, edited by Kate Kennedy, Boydell, 2018.

Rupprecht, P. “Images in Sound: Movement, Harmony and Colour in the Early Music.” The Music of Simon Holt, edited by D. Charlton, Boydell, 2017.

Rupprecht, P. “Tonality Rediscovered: Oliver Knussen and the Musical ‘Object’ in the 1970s..” Tonality Since 1950, edited by F. Woerner et al., Franz Steiner Verlag, 2017, pp. 209--231.

Rupprecht, P. “Quickenings of the Heart: Notes on Rhythm and Tempo in Britten’s Music.” Benjamin Britten Studies: Essays on an Inexplicit Art, edited by V. Stroeher and J. Vickers, Boydell Press, 2017, pp. 317–45.

Rupprecht, P. “Agency Effects in the Instrumental Drama of Musgrave and Birtwistle.” Music and Narrative Since 1900, edited by Michael L. Klein and Nicholas Reyland, Indiana University Press, 2013, pp. 189–215.

Rupprecht, P. “Britten and the Avant-Garde in the 1950s.” Rethinking Britten, edited by Philip Rupprecht, Oxford University Press, 2013, pp. 131–55.

Rupprecht, P. “Mechanical Song: Birtwistle’s Rhythmic Imagination.” Birtwistle Studies, edited by David Beard et al., Cambridge Univ. Press, 2013.

Rupprecht, P. “Introduction: Britten’s Music and Its Audiences.” Rethinking Britten, edited by Philip Rupprecht, Oxford University Press, 2013, pp. xv–xxxi.

Lang, J., and P. Marquis. Introduction. Vol. 26, 2012, pp. 9–10.

Rupprecht, P. “Among the Ruined Languages: Britten’s Triadic Modernism, 1930-1940.” Tonality 1900-1950: Concept and Practice, edited by Felix Woerner et al., Stuttgart: Franz Steiner, 2012, pp. 223–45.

Pages

Rupprecht, P. “"Something slightly indecent": British composers, the European avant-garde, and national stereotypes in the 1950s.” Musical Quarterly, vol. 91, no. 3–4, Mar. 2009, pp. 275–326. Scopus, doi:10.1093/musqtl/gdp003. Full Text

Philip Rupprecht, P. “Above and beyond the bass: harmony and texture in George Benjamin’s Viola, Viola.” Tempo: A Quarterly Review of Modern Music, vol. 59, Apr. 2005, pp. 28–38.

Philip Rupprecht, P. “Tonal stratification and Uncertainty in Britten’s music.” Journal of Music Theory, vol. 40, no. 2, Oct. 1996, pp. 311–46.

Selected Grants

Music MD Biddle 2017 Proposal awarded by Mary Duke Biddle Foundation (Principal Investigator). 2017

Tonality 1900-1950: Concept and Practice awarded by National Endowment for the Humanities (Principal Investigator). 2010 to 2011