Dr David Code

  • Reader in Music (Music)

Research interests

Office Hours: Mondays 3 - 4pm

Research Interests

So far, my work has generally remained closely analytical at basis, but in a way that resists all theoretical orthodoxy: my pursuit of the cultural meanings embodied in (and/or attributed to) modernist art in all media (music, poetry, painting, film) leads me to rigorous formal interpretations of such oft-neglected dimensions as orchestral timbre and pianistic gesture in Debussy; form and mode in Mallarmé.

A similar pursuit of the interaction between aesthetic forms and ideological implications lies behind my 2007 account of ‘architectonic’ rhythmic conception in Stravinsky’s The Rite of Spring. A more recent project, a biography of Debussy for the Reaktion Press ‘Critical Lives’ series on key modern figures (published July 2010), offered me the chance to reframe several such interactions in more broadly accessible terms—to which end I traced the composer’s ‘life and works’ giving particular focus to his evolving literary interests.

I have recently been awarded an AHRC Research Fellowship to consolidate and elaborate my multivalent approach to Debussy analysis and interpretation in a more specialist, metacritical monograph, provisionally titled Debussy’s Allegories of Modern Listening. At the same time I continue to pursue a more recently opened avenue of research into the use of pre-existent music in Stanley Kubrick’s films: a first article (on The Shining) was published in early 2010; a second (on 2001) is in preparation.

Biography

I took a BMus in Piano Performance at the University of Toronto before proceeding to post-graduate study in Historical Musicology at the University of California, Berkeley. My PhD dissertation began as an attempt to refine a performance-based interpretive approach to Debussy's piano music, and developed into an interdisciplinary analysis of poetics, performance and materiality in Mallarmé, Debussy and Matisse. I held a Mellon teaching and research fellowship at Stanford University for two years and taught for a year at Bishop's University in Quebec before arriving at Glasgow in July 2002.




Publications

List by: Type | Date

Jump to: 2019 | 2018 | 2017 | 2014 | 2013 | 2010 | 2008 | 2007 | 2005 | 2004 | 2001
Number of items: 22.

2019

Code, D. (2019) Hearing hearing? Theoretical reflections on the Kubrickian soundtrack. In: Cenciarelli, C. (ed.) The Oxford Handbook to Cinematic Listening. Oxford University Press. (In Press)

Code, D. (2019) Nijinsky, modernism, repression: the faun ballet—once again—under analysis. In: Caddy, D. and Clarke, M. (eds.) Musicology and Dance: Embodying the Western Canon. Cambridge University Press: Cambridge. (In Press)

2018

Code, D. J. (2018) Modernism and history. In: Heile, B. and Wilson, C. (eds.) The Routledge Research Companion to Modernism in Music. Routledge: Abingdon, Oxon ; New York, NY, pp. 108-132. ISBN 9781472470409

Code, D. (2018) Debussy, discourse, time: listening for "la modernité" in the Nocturnes. Musical Quarterly, 100(3-4), pp. 340-398. (doi:10.1093/musqtl/gdy006)

Code, D. J. (2018) Analyse, que me veux-tu? interpreting Stravinsky's memorial to Debussy. Twentieth-Century Music, 15(2), pp. 259-299. (doi:10.1017/S1478572218000166)

2017

Code, D. (2017) The many voices of ‘art song’. In: Heile, B., Moreda Rodriguez, E. and Stanley, J. (eds.) Higher Education in Music in the Twenty-First Century. Routledge: Abingdon, Oxon ; New York, NY, pp. 77-111. ISBN 9781472467324

2014

Code, D. J. (2014) Matthew Brown Debussy Redux: The Impact of His Music on Popular Culture. Nineteenth-Century Music Review, 11(02), pp. 311-315. (doi:10.1017/S1479409814000020) [Book Review]

Code, D. (2014) Don Juan in Nadsat: Kubrick's music for A Clockwork Orange. Journal of the Royal Musical Association, 139(2), pp. 339-386. (doi:10.1080/02690403.2014.944823)

2013

Code, D. J. (2013) Plus ca change ... : Thinking again about Debussy and Ravel. Music and Letters, 94(3), pp. 511-518. (doi:10.1093/ml/gct057) [Book Review]

Code, D.J. (2013) The "song triptych": reflections on a Debussyan genre. Scottish Music Review, 3(1),

2010

Code, D. J. (2010) Debussy's Late Style. By Marianne Wheeldon. Music and Letters, 91(3), pp. 444-446. (doi:10.1093/ml/gcq024) [Book Review]

Code, D.J. (2010) Claude Debussy. Series: Critical lives. Reaktion Books: London, UK. ISBN 9781861897596

Code, D.J. (2010) Real feelings: music as path to philosophy in 2001: A Space Odyssey. Twentieth-Century Music, 7(2), pp. 195-217. (doi:10.1017/S1478572211000168)

Code, D.J. (2010) Rehearing The Shining: musical undercurrents in the Overlook hotel. In: Lerner, N.W. (ed.) Music in the Horror Film: Listening to Fear. Series: Routledge music and screen media series. Routledge: New York, USA, pp. 133-151. ISBN 9780415992022

2008

Code, D. J. (2008) Debussy and the Fragment. By Linda Cummins. Music and Letters, 89(2), pp. 272-274. (doi:10.1093/ml/gcm056) [Book Review]

Code, D. J. (2008) Review of Heath Lees. 2007. Mallarmé and Wagner: Music and Poetic Language. Current Musicology, 85, pp. 157-161. [Book Review]

2007

Code, D. J. (2007) Debussy's string quartet in the Brussels salon of "La Libre Esthetique". 19th-Century Music, 30(3), pp. 257-287. (doi:10.1525/ncm.2007.30.3.257)

Code, D.J. (2007) Parting the veils of Debussy's 'Voiles'. Scottish Music Review (Online), 1(1),

Code, D.J. (2007) The synthesis of rhythms: form, ideology, and the "Augurs of Spring". Journal of Musicology, 24(1), pp. 112-166. (doi:10.1525/jm.2007.24.1.112)

2005

Code, D. J. (2005) Review: Mallarme and Debussy: Unheard Music, Unseen Text. Music and Letters, 86(2), pp. 301-306. (doi:10.1093/ml/gci048) [Book Review]

2004

Code, D.J. (2004) The formal rhythms of Mallarmé's faun. Representations, 86, pp. 73-119. (doi:10.1525/rep.2004.86.1.73)

2001

Code, D.J. (2001) Hearing Debussy reading Mallarmé: music "après Wagner" in the "Prélude à l'après-midi d'un faune". Journal of the American Musicological Society, 54(3), pp. 493-554.

This list was generated on Mon Oct 21 08:18:36 2019 BST.
Number of items: 22.

Articles

Code, D. (2018) Debussy, discourse, time: listening for "la modernité" in the Nocturnes. Musical Quarterly, 100(3-4), pp. 340-398. (doi:10.1093/musqtl/gdy006)

Code, D. J. (2018) Analyse, que me veux-tu? interpreting Stravinsky's memorial to Debussy. Twentieth-Century Music, 15(2), pp. 259-299. (doi:10.1017/S1478572218000166)

Code, D. (2014) Don Juan in Nadsat: Kubrick's music for A Clockwork Orange. Journal of the Royal Musical Association, 139(2), pp. 339-386. (doi:10.1080/02690403.2014.944823)

Code, D.J. (2013) The "song triptych": reflections on a Debussyan genre. Scottish Music Review, 3(1),

Code, D.J. (2010) Real feelings: music as path to philosophy in 2001: A Space Odyssey. Twentieth-Century Music, 7(2), pp. 195-217. (doi:10.1017/S1478572211000168)

Code, D. J. (2007) Debussy's string quartet in the Brussels salon of "La Libre Esthetique". 19th-Century Music, 30(3), pp. 257-287. (doi:10.1525/ncm.2007.30.3.257)

Code, D.J. (2007) Parting the veils of Debussy's 'Voiles'. Scottish Music Review (Online), 1(1),

Code, D.J. (2007) The synthesis of rhythms: form, ideology, and the "Augurs of Spring". Journal of Musicology, 24(1), pp. 112-166. (doi:10.1525/jm.2007.24.1.112)

Code, D.J. (2004) The formal rhythms of Mallarmé's faun. Representations, 86, pp. 73-119. (doi:10.1525/rep.2004.86.1.73)

Code, D.J. (2001) Hearing Debussy reading Mallarmé: music "après Wagner" in the "Prélude à l'après-midi d'un faune". Journal of the American Musicological Society, 54(3), pp. 493-554.

Books

Code, D.J. (2010) Claude Debussy. Series: Critical lives. Reaktion Books: London, UK. ISBN 9781861897596

Book Sections

Code, D. (2019) Hearing hearing? Theoretical reflections on the Kubrickian soundtrack. In: Cenciarelli, C. (ed.) The Oxford Handbook to Cinematic Listening. Oxford University Press. (In Press)

Code, D. (2019) Nijinsky, modernism, repression: the faun ballet—once again—under analysis. In: Caddy, D. and Clarke, M. (eds.) Musicology and Dance: Embodying the Western Canon. Cambridge University Press: Cambridge. (In Press)

Code, D. J. (2018) Modernism and history. In: Heile, B. and Wilson, C. (eds.) The Routledge Research Companion to Modernism in Music. Routledge: Abingdon, Oxon ; New York, NY, pp. 108-132. ISBN 9781472470409

Code, D. (2017) The many voices of ‘art song’. In: Heile, B., Moreda Rodriguez, E. and Stanley, J. (eds.) Higher Education in Music in the Twenty-First Century. Routledge: Abingdon, Oxon ; New York, NY, pp. 77-111. ISBN 9781472467324

Code, D.J. (2010) Rehearing The Shining: musical undercurrents in the Overlook hotel. In: Lerner, N.W. (ed.) Music in the Horror Film: Listening to Fear. Series: Routledge music and screen media series. Routledge: New York, USA, pp. 133-151. ISBN 9780415992022

Book Reviews

Code, D. J. (2014) Matthew Brown Debussy Redux: The Impact of His Music on Popular Culture. Nineteenth-Century Music Review, 11(02), pp. 311-315. (doi:10.1017/S1479409814000020) [Book Review]

Code, D. J. (2013) Plus ca change ... : Thinking again about Debussy and Ravel. Music and Letters, 94(3), pp. 511-518. (doi:10.1093/ml/gct057) [Book Review]

Code, D. J. (2010) Debussy's Late Style. By Marianne Wheeldon. Music and Letters, 91(3), pp. 444-446. (doi:10.1093/ml/gcq024) [Book Review]

Code, D. J. (2008) Debussy and the Fragment. By Linda Cummins. Music and Letters, 89(2), pp. 272-274. (doi:10.1093/ml/gcm056) [Book Review]

Code, D. J. (2008) Review of Heath Lees. 2007. Mallarmé and Wagner: Music and Poetic Language. Current Musicology, 85, pp. 157-161. [Book Review]

Code, D. J. (2005) Review: Mallarme and Debussy: Unheard Music, Unseen Text. Music and Letters, 86(2), pp. 301-306. (doi:10.1093/ml/gci048) [Book Review]

This list was generated on Mon Oct 21 08:18:36 2019 BST.

Grants

  • April 2010 AHRC Research Fellowship for 2010-11, to fund completion of monograph Debussy’s Allegories of Modern Listening.
  • Autumn 2008 British Academy Overseas Conference Grant, to fund travel to the annual meeting of the AMS in Nashville, TN.
  • Summer 2008 Grant from the John Robertson Bequest (University of Glasgow) to fund publication costs for Claude Debussy (London: Reaktion Press)
  • Summer 2008 British Academy Small Research Grant to fund publication costs for Claude Debussy (London: Reaktion Press)
  • Summer 2007 Music & Letters Trust, grant to fund travel to the Congress of the IMS in Zürich.
  • November 2006 British Academy Overseas Conference Grant, to fund travel to the annual meeting of the AMS in Los Angeles.
  • August 2004 British Academy Small Research Grant, to fund three-week research trip to Paris and Brussels.
  • August 2004 AHRB Small Research Grant, to fund three-week research trip to Paris and Brussels (declined in favour of British Academy).
  • August 2004 The Carnegie Trust for the Universities of Scotland, Small Research Grant, to fund three-week research trip to Paris and Brussels (declined in favour of British Academy).
  • July 2004 British Academy Overseas Conference Grant, to fund travel to the Symposium of the IMS in Melbourne.
  • 2002-2010 yearly support awarded from the Strategic Research Grants of the Faculty of Arts, University of Glasgow.

Supervision

  • Allen, William
    Sonic Neurologies: Sound and Schizophrenia in the works of David Foster Wallace and Richard Powers
  • Findlay, Jack
    John Field and the influence Russian music culture had on his compositions.
  • Jardine, Dylan
    The Work-Concept Revisited
  • Kirton, Jon-Luke
    Investigating the other and the self, a phenomenological approach to pianist's lived experience of techniques in George Crumb's Makrokosmos I&II for amplified piano
  • Ritchie, Andrea
    The Relationship between the Music of Film and Filmic Representations of Reality

Teaching


Additional Information

Administration

  • MMus Research Course Coordinator
  • September, 2007 - present: MMus (Research) Coordinator
  • June 2006-2009, June 2010 - present: Administrator of RMA Research Colloquia
  • September 2003 - August 2009: BMus Admissions Officer

Conferences

  • ‘Cross-Dressing with Debussy: the Chansons de Bilitis as Historical Allegory’.  Paper to be presented to:
    • Annual Meeting of the AMS, Indianapolis (November 2010)
    • Biennial Conference on 19th-Century Music, Southampton (July 2010)
  • ‘Debussy’s Pivotal Musical Modernism: Thoughts on the Implied Listener’. Presentation to:
    • Scottish Network of Modernist Studies Workshop ‘Modernism and Music’, Aberdeen (May 2010)
  • ‘Debussy’s Chansons de Bilitis as Music-Historical Allegory’. Presented to:
    • University of Salamanca Music Department, part of an Erasmus Teaching Exchange (April 2010).
    • University of Nottingham Music Department colloquium (November 2009)
  • ‘Horror Film as Music Historiography’. Presented to:
    • University of Glasgow Music Department colloquium (March 2009)
    • Annual Meeting of the AMS, Nashville (November 2008)
  • 'Midnight, with the Stars and You: Musical Telepathy, Cinematic Irony, and The Shining.'  Presented to:
    • The international conference on Sound, Music and the Moving Image, Institute of Musical Research, London (September 2007)
  • 'Carnival and Ceremony: Rehearing the Festivities in Debussy’s "Fêtes"’.  Presented to:
    • the 18th Congress of the IMS, Zurich (July 2007);
    • Annual Meeting of the AMS, Los Angeles (November 2006);
    • Annual Meeting of the RMA, Nottingham (July 2006)
  • 'Debussy’s String Quartet in the Brussels Salon of La Libre Esthétique'.  Presented to:
    • University of Glasgow Music Department colloquium (March 2005);
    • Annual Meeting of the AMS, Seattle (November 2004);
    • Inter-Congressional Symposium of the IMS, Melbourne (July 2004)
  • 'Reflections on Mallarmé’s and Debussy’s Faun'.  Presented to:
    • University of Glasgow, Department of Modern Languages colloquium (November 2004)
  • 'Parting the Veils of Debussy’s Voiles'  Presented to:
    •  Oxford University, Department of Music colloquium (June 2003);
    • University of Edinburgh, Department of Music colloquium (May 2003);
    • University of Bristol, Department of Music colloquium (March 2003);
    • University of Glasgow, Department of Music colloquium (February 2003);
    • 17th Congress of the IMS in Leuven, Belgium (August 2002);
    • McGill University, Department of Music colloquium (March 2002)
  • 'The Pastoral, the Erotic, and Debussy’s Prelude to the Afternoon of a Faun' Presented to:
    • York University (Canada) Department of Music colloquium (January 1999);
    • University of Toronto, Department of Music colloquium (December 1998);
    • Annual Meeting of the AMS, Boston (November 1998);
    • University of California, Berkeley, Department of Music colloquium (October 1998)

Public Lectures

  • 'Paul Sacher and Three Wartime Commissions', pre-concert talk for The Scottish Ensemble's 'Tribute to Paul Sacher', Glasgow University Chapel, January 2008
  • 'Musical heroes and anti-heroes after the Eroica', pre-concert talk for the BBC Scottish Symphony Orchestra, Glasgow City Halls, February 2006
  • 'André Messager, Sacha Guitry, Yvonne Printemps, and L’Amour masqué', Insight lecture for the Edinburgh International Festival, Museum of Scotland Lecture Theatre, August 2005.

Public Concert Produced

  • 'Mackintosh, Macdonald, and Us: Voices Across a Century', concert at the University of Glasgow including newly commissioned postgraduate compositions, conceived, organized and presented as part of the Glasgow Mackintosh 2006 Festival, November 2006.