Dr David Code

  • Reader in Music (Music)

telephone: 01413305509
email: David.Code@glasgow.ac.uk

Rm 303, Music, 14 University Gardens, Glasgow G12 8QH

ORCID iDhttps://orcid.org/0000-0002-1724-5966

Biography

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.

Research interests

Research Interests

Over the past few years, my research has largely unfolded in two main areas, each resting on the work of a single historical figure, but both also branching out into various interrelated directions:

  1. Claude Debussy: not only do I remain fascinated, as a pianist and scholar, by the musical oeuvre of this major composer, but I find it a rich node for wide-ranging reflection on everything from ingrained methodological habits in music theory and analysis to the intractable nature of 'received wisdom' in music history. I have consistently challenged longstanding analytical and historiographical assumptions alike by attending afresh to neglected compositional dimensions (e.g. orchestral timbre, rhythm, and performative gesture), and by bringing healthy scepticism to bear on the writings of such 'sacred cows' as T. W. Adorno and V. Jankélévitch. A similar approach has also proven fruitful when turned to the most canonical works of Igor Stravinsky (e.g. Le sacre du printemps, Symphonies d'instruments à vent), and indeed in my teaching of music by everyone from Mozart through Schubert to Brahms and Ligeti.
  2. Stanley Kubrick: having first ventured into the 'film music' field through lectures on Kubrick's famous 'compilation scores' (e.g. The ShiningA Clockwork Orange), I went on to engage with this subdiscipline at various levels, notably including the preliminary RSE workshops that led to the establishment of the loose collective BARN (British Audiovisual Research Network). My published research on Kubrick shares with my Debussy scholarship a determination to resist the discipline's ever-changing fashionable formulations in favour of a combination of close, quasi-'musical' analysis with the most wide-ranging, bespoke cultural critique, thus opening these well-known films to rich literary-historical resonance as well as to philosophies of communicative and aesthetic form most broadly conceived. Having launched the first 'Film Music' course at Glasgow University, I continue to use it as the locus to open further avenues for film music research - latterly including, among others, the work of Agnès Varda and Claire Denis; Spike Lee and Abderrahmane Sissako.

 

Publications

List by: Type | Date

Jump to: 2020 | 2019 | 2018 | 2017 | 2014 | 2013 | 2010 | 2008 | 2007 | 2005 | 2004 | 2001
Number of items: 25.

2020

Code, D. (2020) 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. ISBN 9781108476188

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) Review of Catherine Kautsky, Debussy’s Paris: Piano Portraits of the Belle Époque, and Gurminder Kaur Bhogal, Claude Debussy’s Clair de Lune. H-France Review, 19, p. 269. [Book Review]

Code, D. J. (2019) Katherine Kautsky, Debussy’s Paris: Piano Portraits of the Belle Époque, and Gurminder Kaur Bhogal, Claude Debussy: Clair de lune. H-France Review, [Book Review] (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)

Code, D. J. (2018) The “Song Triptych”: reflections on a Debussyan genre. In: de Médicis, F. and Huebner, S. (eds.) Debussy’s Resonance. University of Rochester Press: Rochester, pp. 127-174. ISBN 9781580465250

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), pp. 1-40.

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), pp. 43-67.

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 Mar 1 10:43:52 2021 GMT.
Number of items: 25.

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), pp. 1-40.

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), pp. 43-67.

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. (2020) 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. ISBN 9781108476188

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. 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. J. (2018) The “Song Triptych”: reflections on a Debussyan genre. In: de Médicis, F. and Huebner, S. (eds.) Debussy’s Resonance. University of Rochester Press: Rochester, pp. 127-174. ISBN 9781580465250

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. (2019) Review of Catherine Kautsky, Debussy’s Paris: Piano Portraits of the Belle Époque, and Gurminder Kaur Bhogal, Claude Debussy’s Clair de Lune. H-France Review, 19, p. 269. [Book Review]

Code, D. J. (2019) Katherine Kautsky, Debussy’s Paris: Piano Portraits of the Belle Époque, and Gurminder Kaur Bhogal, Claude Debussy: Clair de lune. H-France Review, [Book Review] (In Press)

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 Mar 1 10:43:52 2021 GMT.

Grants

  • 2020 - in preparation for the AHRC 'Digital Transformations' scheme: 'Digital Debussy: Computer-Aided Analysis of Notated Musical Expression'
  • 2018 various stipends (e.g. GU Chancellor's fund, Music & Letters Trust, RMA) in support of the international conference 'Claude Debussy in 2018: a Centenary Celebration at the Royal Northern College of Music and the University of Glasgow'
  • 2015-16 RSE Workshop Grant 'Building a British Audiovisual Research Network (BARN)'
  • 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

Primary supervisor

David O'Connell, PhD: 'Timbral Poetry and Form in Debussy's Orchestral Music'

Andrea Ritchie, PhD: 'Music in the Marvel Cinematic Universe'

Dylan Jardine, PhD: '20th-Century Pianism: Recording Culture and the Work Concept'

Ruaraidh Pattie, PhD: 'Clara Schumann and 19th-century Song Performance'

John Monteiro, MPhil: '19th-Century Waltzes for Piano: A Historical and Critical Study'

  • 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

Primary supervisor

Amy Jane Brown, MMus (research) 2016: 'How valuable is web 2.0 to music criticism? An investigation into the role of web 2.0 and social media in the reception of Benjamin Britten's operas'

Helen Alexander, PhD 2015: 'Happy harmonies and disturbing discords: Scott Bradley's music for MGM's cartoons'

Aimee Toshney, MMus (research) 2010: 'England's 'National Opera'? : an interpretative study of Britten's Gloriana, Op. 53'

Helen Alexander, MMus (research) 2009: 'Music, myth and the pursuit of meaning in Moulin Rouge!'

Allan Wright, MMus (research) 2007: 'Frank Zappa's orchestral works : art music or "bogus pomp"?'

 

Secondary supervisor (50-50)

Dorian Komanoff Bandy, PhD 2019: 'Melodic Embellishment in Mozart'

 

Teaching

Convenor, MMus (taught) in Musicology

  • Coordinator and lead instructor: 'Introduction to Musicology'
  • Contributing instructor: 'Current Issues in Musicology'; 'Dissertation'; 'Making Time: Temporality in the Arts'.

Convenor, MA in Music (undergraduate programme)

Undergraduate teaching:

Honours:

  • Coordinator and lead instructor: 'Debussy and the Belle Époque'
  • Coordinator and lead instructor: 'Film Music;'
  • Contributor: 'Historiography of Music'; esp. unit 2: 'A Global History of Music?'
  • Contributor: 'Dissertation' and 'General Paper in Music'

Pre-Hons and Hons:

  • Coordinator and lead instructor: 'Romantic Song'

Foundation:

  • Coordinator and lead instructor: 'Listening in Culture'

Additional information

Administration

  • Convenor, SCCA Collaborations & Cultural Activities committee, 08/2017-12/2020

  • Convenor, MMus (taught) in musicology, 2018-current
  • SCCA Quality Officer and Deputy Convenor of LT Committee, 09/2016-08/2017
  • Elected Member, Council of Senate (now Senate) 10/2017-current
  • Convenor, MA in Music (UG), 2016-current
  • Head of Music Subject Area, 08/2013-12/2014
  • Convenor, Distinguished Cramb Lecture (2007-12) and Residency (2012-current)

  • Convenor, RMA Research Colloquia in Music, 2005-12

  • Member, appointment committee: University Lecturers (2004 and 2013), Cultural Activities Coordinator, 2018

  • Convenor, MMus (Research) in musicology, 2007-17
  • BMus Admissions Officer, 2003-09

 

Conferences/Symposia/Concerts hosted

  • 'Claude Debussy in 2018: A Centenary Celebration at the RNCM and the University of Glasgow', in collaboration with Professor Barbara Kelly (Head of Research, RNCM), Manchester and Glasgow, March 2018.
  • RSE Workshop, 'Building a British Audiovisual Research Network (BARN)', in collaboration with Dr. Louise Harris, Glasgow Univeristy and Centre for Contemporary Arts, Sept 2015 and Sept 2016
  • Member, programme committee, International Conference on Music Since 1900, University of Glasgow, Sept 2016
  • 'Envoicing the Other' - International Symposium and Concert of original compositions for the sesquicentenary of the birth of Claude Debussy and the 75th anniversary of the death of Maurice Ravel, Glasgow University, November 2012
  • ‘Mackintosh, MacDonald, and Us: Voices Across a Century’, concert curated by invitation of Professor Pamela Robertson for the 2006 Glasgow Mackintosh Festival, University Concert Hall, March 2006

Conference Sessions chaired

  • ‘Spaces and Geographies’, with Yvonne Liao (King’s College London, Juan Carlos Galiano (University of Granada), and Emily McGregor (Univeristy of Oxford), International Conference on Music Since 1900, University of Glasgow (September, 2016)

  • ‘Documenting Sound and Music’, with Daphne Hall (Iceland Academy of Arts/ University of Liverpool), Dr. Liz Greene (University of Glasgow), and Dr. Rob Strachan (University of Liverpool), International Music & Screen Media Conference, University of Liverpool (June 2014)
  • ‘Deconstructing Neoclassicism’, session organized by Professor Marianne Wheeldon (University of Texas at Austin), with Professors Barbara Kelly (Keele University) and Christopher Moore (University of Ottawa), Biennial International Conference on Music After 1900, Liverpool (September 2013)
  • ‘German Music and its Consequences’, with Drs Rachel Swindells (University of Otago, NZ), Sinead Dempsey-Garratt (University of Manchester), and Andrew Deruchie (University of Ottawa), 16th Biennial Conference on 19th-Century Music, Southampton (July, 2010)

 

Selected Conference/Colloquium Presentations

  • Mozart Films the Vietnam War: Music, Nation, and Gender in Kubrick’s Full Metal Jacket’, paper presented to the Research Colloquium in Music, Oxford University (January 2015), the RMA Colloquia in Music, University of Glasgow (January 2014) and the International Institute of Popular Culture Debates, University of Turku (April 2013)

  •  ‘Erreur or errance? Music and Freedom in Varda’s Sans toit ni loi’, paper presented to the Music and Screen Media Conference, University of Liverpool (June 2014)

  • ‘Serendipity and the Subtexts of Film Song: The Problematic Case of A Clockwork Orange’, paper presented to the International Conference on Music and the Moving Image, New York University (June 2012)

  • ‘Debussy’s Song Triptychs and Fin-de-siècle Visual Culture’, paper presented to the Music Research Colloquia, University of Bangor (April 2012), University of Surrey (March 2012), and King’s College London (December 2011), as well as the Gresham College/IMR/Bangor University Symposium ‘Debussy: Text and Idea’ (March 2012), and as invited keynote at the International Conference ‘Debussy: du rêve pour les générations futures’, Université de Montréal (February 2012)

  • ‘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)