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Dr Carlo Cenciarelli BA (Soton) MMus (KCL) PhD (KCL)

Dr Carlo Cenciarelli

BA (Soton) MMus (KCL) PhD (KCL)

Lecturer and Director of Undergraduate Studies

School of Music

+44 (0)29 2087 0313
1.15, 37 Corbett Road (Annex)
Available for postgraduate supervision


I specialise on sound and the moving image, and I am particularly interested in the ways in which cinema—thorughout its history, but especially since the 1960s—has functioned as a 'cultural interface' for musical repertoires and audio technologies.

I have written on the media afterlife of classical and popular music and on the representation and remediation of listening in film, with essays published in edited collections and in journals including Twentieth-Century MusicCambridge Opera JournalMusic and Letters, and the Journal of the Royal Musical Association. I am the editor of The Oxford Handbook of Cinematic Listening (OUP, 2021).

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). 


Education and Qualifications

2011: PhD, King's College London

2005: MMus, King's College London

2003: BMus, University of Southampton

Honours and awards

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

Professional memberships

Fellow of the Higher Education Academy

Academic positions

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.

Speaking engagements

  • 'From Singing to Listening on the Move: The Graduate as a Mobile Music Musical', Song, Stage, and Screen XV: Mobilities—Stage and Film Musical in Motion, online, 2021
  • 'iPod listening as an I-voice', video essay for Screen Studies Conference, online, 2021
  • The Limits of Cinema's Representations (What They Tell Us and What They Won't Let Us Hear)', invited contribution to AHRC Network symposium Representing Classical Music in the 21st Century, University of Exeter, online, 2021.
  • Cinematic Afterlives and Biographical Palimpsests: The Strange Case of Bach, Bergman, and The Beatles', invited talk for LAHP conference Memory, Identity and the Remediation of Musical Lives. KIng's College London, online, 2021.
  • 'Breve introduzione allo studio dell'ascolto cinematografico', invited talk for La musicoogia e i suoi dibattiti. Università della Tuscia, online, 2021.
  • 'Warped Singing: Opera from Cinema to YouTube', invited talk for the AHRC Research Network, Representing 'Classical Music' in the Twentieth Century. University of Exeter, 2019.
  • 'iPod listening as an I-voice', paper for panel on 'Transmedia Sonic Experiences', Society for Cinema and Media Studies annual Conference Seattlle (WA), 2019.
  • Opera on Screen, film talks, BBC Cardiff Singer of the World, Film Season at Chapter Arts Centre, Cardiff, 2019
  • 'Listening Alone, Together: The Cinema as a Personal Stereo', invited talk given at research colloquia at Carleton University (Canada), 2018.
  • 'Listening Alone, Together: The Cinema as a Personal Stereo', invited talk given at research colloquia at Turku University (Finland), 2018.
  • 'Listening Alone, Together: The Cinema as a Personal Stereo', invited talk given at research colloquia at the University of Surrey (UK), 2018.
  • Opera on Screen, film 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.
  • 'Falstaff in Brixton', invited talk for the '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.
  • 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.

Committees and reviewing

Chair, Undergraduate Board of Studies (2020-current)

Chair, Examination and Year Boards (2020-current)

Director of Undergraduate Studies (2020-current)

Director of Undergraduate Admissions (2016-2018)

Convenor of the John Bird Lecture Series (2015-2020)













I teach research-led modules on music and media across all levels.

At UG level I teach a Year 2 module that aims to give students historical and theoretical frameworks for interpreting the role of sound in film ('Reading Film Sound') and a Year 3 sound studies module on the history of playback techologies ('Aural Cultures From the Phonograph to the Smartphone').

At MA level I run a seminar on the history, analysis, and criticism of musical multimedia ('Studying Musical Multimedia'), where we focus on a wide range of fictional and non-fictional screen genres including documentaries, news broadcasts, commercials, music video, video games, opera simulcasts, and online performances.

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 am currently supervising PhD students on internet music, on the Lydian mode in Hollywood cinema, and on the gender implications of cinema's sensory turn. I welcome applications for topics related to film sound and to music, media, and technology more broadly.

My research sits at the intersection of musicology, film theory, sound studies, and media studies, and revolves around the many ways in which the cinema (as a place, a technology, and body of texts) has shaped and continues to shape the functions and meanings of music in contemporary culture.

I have published work on the cinematic appropriation of J.S. Bach’s music (particularly the Goldberg Variations), the sound of indie cinema (particularly Jarmusch, Munch, and Linklater), the place of opera in digital culture (from opera DVDs to YouTube amateur performances), and the cinematic representation and remediation of playback technologies. My work can be found in edited collections and in journals including the Journal of the Royal Musical Associationtwentieth-century musicCambridge Opera Journal, Radical Musicology, and Music and Letters. I am the editor of The Oxford Handbook of Cinematic Listening (OUP, 2021).

I am currently working on a monograph that explores the ‘cinematicity’ of personal stereos, using the cinema as vantage point to explore the cultural history and phenomenology of mobile listening.