Dr Carlo Cenciarelli
BA (Soton) MMus (KCL) PhD (KCL)
Lecturer and Director of Undergraduate Studies
- cenciarellic@cardiff.ac.uk
- +44 (0)29 2087 0313
- 1.15, 37 Corbett Road (Annex)
- Ar gael fel goruchwyliwr ôl-raddedig
Trosolwg
I specialise in the intersection between music and visual culture in the late twentieth and early twenty-first centuries.
My main publications have been on the cinematic afterlife of J. S. Bach, on opera and digital culture, and on the aesthetics of musical borrowing. I am currently writing a book on the representation of listening in film.
Before joining Cardiff, I was a British Academy Postdoctoral Fellow at Royal Holloway, University of London. I hold a PhD in Musicology from King’s College London (2011).
Bywgraffiad
Education and Qualifications
2011: PhD, King's College London
2005: MMus, King's College London
2003: BMus, University of Southampton
Anrhydeddau a Dyfarniadau
Westrup Prize, awarded for articles of particular distinction published in Music and Letters, 2014
Premio Giuseppe Verdi, Istituto Nazionale di Studi Verdiani, Parma, Italy, 2010
Safleoedd academaidd blaenorol
British Academy Postdoctoral Fellow, Royal Holloway, University of London
Visiting Lecturer at Manchester University, City University, King's College London, Oxford Brookes, and Surrey University.
Ymrwymiadau siarad cyhoeddus
- Screen talks, BBC Cardiff Singer of the World, Film Season at Chapter Arts Centre, Cardiff, 2017
- 'Operatic Duets and Media Afterlives: Testing the Limits of (Audio-visual) Deadness', MaMI, New York University, 2017
- 'Video Verdi: decontestualizzazione e ricontestualizzazione dell'opera nell'epoca del digitale', Verdi e i nuovi media, Università degli Studi di Parma, 2017
- 'Bach and Cinematic Time', Research Seminar part of the workshop On (re)connaît la chanson: La musica preesistente nel cinema, Università degli Studi di Milano, 2016
- Panel participation: 'Journeys on Screen: Travel, Space and the Question of Cinematic Form', Screen Studies Conference, University of Glasgow, 2016
- 'The Sense of an Ending: Music, Time and Travel in Before Sunrise', MaMI, New York University, 2016
- 'Music/Performance/Media' workshop at Università degli Studi di Milano, 2015
- 'Changing the Sound of 1984', International Conference on Music Since 1900, University of Glasgow, 2015
- 'The Sense of an Ending: Music, Time and Travel in Before Sunrise', MaMI, New York University, 2016
- 'Music/Performance/Media' workshop at University of Milan, 2015
- Respondent, 'On Networks: Questions and Models', British Audiovisual Research Network, University of Glasgow, 2015
- 'The Resilient Liveness of Operatic Deadness', Transnational Opera Studies Conference, University of Bologna, 2015
- 'Dear David Bowie: iPod Listening as Inner Speech', MaMI, New York University, 2015
- 'Moving Images and Mobile Music', Research Seminars in Music, University of Bristol, 2014
- 'Opera's Twilight? Verdi from Cinema to YouTube', Fribourg and Lausanne Universities, 2013
- Roundtable Speaker and Organiser, 'Framing Verdi: Opera and 21st-century Popular Culture', American Institute for Verdi Studies and New York University, 2013
- 'Towards a "More-than-representational" Approach to Cinema's Representations of Listening', American Comparative Literature Association Conference, Toronto University 2013
- 'Listening, in the Future', Colloquia in Music, King's College London 2013
- 'Western Art Music, "Indie" Cinema, and the Politics of Anti-identity', International Musicological Society Congress, Rome (Italy), 2012
Cyhoeddiadau
2021
- Cenciarelli, C. 2021. The possibilities of cinematic listening - an introduction. In: Cenciarelli, C. ed. The Oxford Handbook of Cinematic Listening. Oxford University Press, pp. 1-26., (10.1093/oxfordhb/9780190853617.013.1)
- Cenciarelli, C. 2021. iPod listening as an I-voice: solitary listeners and imagined interlocutors across cinema and personal stereos. In: Cenciarelli, C. ed. The Oxford Handbook of Cinematic Listening. Oxford Handbooks Oxford: Oxford University Press, pp. 669-689., (10.1093/oxfordhb/9780190853617.013.35)
- Cenciarelli, C. ed. 2021. The Oxford handbook of cinematic listening. Oxford Handbooks. Oxford: Oxford University Press.
2018
- Cenciarelli, C. 2018. The sense of an ending: music, time and romance in Before Sunrise. In: Bayman, L. and Pinazza, N. eds. Journeys on Screen: Theory, Ethics and Aesthetics. Edinburgh: Edinburgh University Press, pp. 167-182.
2016
- Cenciarelli, C. 2016. The limits of operatic deadness. Cambridge Opera Journal 28(2), pp. 221-226. (10.1017/S0954586716000276)
2015
- Cenciarelli, C. 2015. 'Warped singing': opera from cinema to YouTube. In: Vincent, D. ed. Verdi on Screen. Lausanne: L'Age d'Homme, pp. 251-267.
2014
- Cenciarelli, C. 2014. Lucrezia in 3D: il fallimento di critica, gli scollamenti formali e le epistemologie web della prima opera in tridimensione. Presented at: Convegno internazionale di studi: Donizetti in scena. Vedere l’opera, Bergamo, 12-14 October 2012 Presented at Fornoni, F. ed.Donizetti in scena : attualità det testo-spettacolo : atti del Convegno internazionale, Bergamo, 12-14 ottobre 2012. Bergamo: Fondazione Donizetti
2013
- Cenciarelli, C. 2013. At the margins of the televisual: picture frames, loops and ‘cinematics’ in the paratexts of opera videos. Cambridge Opera Journal 25(2), pp. 203-223. (10.1017/S0954586713000074)
- Cenciarelli, C. 2013. "What Never Was Has Ended": Bach, Bergman and the Beatles in Christopher Münch’s 'The Hours and Times'. Music and Letters 94(1), pp. 119-137. (10.1093/ml/gct038)
2012
- Cenciarelli, C. 2012. Dr Lecter’s taste for 'Goldberg', or: the horror of Bach in the Hannibal franchise. Journal of the Royal Musical Association 137(1), pp. 107-134. (10.1080/02690403.2012.669929)
2011
- Cenciarelli, C. 2011. Bach and cigarettes: imagining the everyday in Jarmusch’s Int. Trailer. Night.. Twentieth-Century Music 7(2), pp. 219-243. (10.1017/S147857221100017X)
2009
- Cenciarelli, C. 2009. Off key: when film and music won't work together. By Kay Dickinson [Book Review]. Music and Letters 90(2), pp. 320-322. (10.1093/ml/gcn123)
2006
- Cenciarelli, C. 2006. The case against Nyman revisited: “affirmative” and “critical” evidence in Michael Nyman’s appropriation of Mozart. Radical Musicology 2006(1), pp. 84 pars.
Addysgu
On the UG programme I run a film music course (‘Reading Film Sound’, MU2179 and MU2181) that aims to give students historical and theoretical frameworks for interpreting the role of sound in film.
At MA level I teach a module titled ‘Studying Musical Multimedia’ (MUT201), which tackles a wide range of phenomena from fiction film to documentaries, music video, virtual bands, opera broadcasts, TV commercials, and video games. I also run the PG forum, a weekly meeting with Masters and PhD students where we discuss the practical and intellectual challenges of doing research in Music (for more information, see our blog at http://blogs.cardiff.ac.uk/musicresearch/category/100-objects/)
I have supervised UG and MA students on various issues in the history and theory of musical multimedia, and on a wider range of topics including musical borrowing, intertextuality, minimalism and the history of recordings.
I welcome applications from potential PhD students on film music and on topics concerning sound, media and technology more broadly.
My research focuses on late-twentieth and early twenty-first century audiovisual cultures.
At present I am particularly interested in finding ways to theorise the nature of cinematic listening and the relationship between listening cultures inside and outside the movie theatre -- a topic that I am exploring in a monograph and through a broader collaborative project (see cinematiclistening.org).
Previous projects include a study of the cinematic appropriation of J. S. Bach’s music and of the place of opera in digital culture. My essays are found in edited collections and in journals including JRMA, twentieth-century music, COJ and Music and Letters.