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Thomas S. Grey Tsgrey@Stanford.Edu 4666 Alpine Dr Thomas S. Grey [email protected] 4666 Alpine Dr. Department of Music Portola Valley, CA 94028 Braun Music Center (650) 851 0342 Stanford University Stanford, CA 94305-3076 (650) 723 3479 ACADEMIC POSITIONS Professor, Music (Musicology): Stanford University 2007- Visiting Assoc. Prof, Music: University of California, Berkeley, Spring 2005 Associate Professor, Music (Musicology): Stanford University 1997–2007 (Affiliated faculty: German Studies, 2002- ) Assistant Professor, Music (Musicology): Stanford University 1989-1996 Visiting Assistant Professor, Music: University of California, Los Angeles 1988-89 DEGREES May, 1988 Ph.D. in Music (History and Literature); dissertation filed December 1987 May, 1984 Advanced to candidacy for the Ph.D. in Music, University of California, Berkeley June, 1982 M. A. in Music, University of California, Berkeley June, 1979 B. A. magna cum laude in Comparative Literature and Music, with highest distinction (honors program), Dartmouth College HONORS AND AWARDS Sept-Dec. 2005 Alexander von Humboldt-Stiftung Fellowship (Germany) April-June 1995 Alexander von Humboldt-Stiftung Fellowship (Germany) Jan.-June 1994 Alexander von Humboldt-Stiftung Fellowship (Germany) June-Dec. 1993 N.E.H. Research Fellowship for University Teachers Feb. 1993 Designated alternate candidate for Fulbright Senior Scholars Fall 1987 University of California Club Fellowship (Music) 1986-1987 Dissertation Fellow, Getty Center for the History of Art and the Humanities (Santa Monica, CA) June-July, 1985 German Academic Exchange Service (DAAD) short-term travel grant; University of California Humanities Graduate Research Grant 1984-1985 Alfred Hertz and Sarah Unna Scholarships in Music. 1983-1984 Regents Fellowship and Alfred Hertz Memorial Scholarship in Music 1980-1981 Lulu J. Blumberg Memorial Fellowship in Music 1979 Phi Beta Kappa; Stephen J. Schlossmacher Award (Department of German), 1st Prize, for honors thesis, "'Raum für T. S. Grey curriculum vitae Page 2 11/19/2017 Musik': Der Rosenkavalier and the Strauss- Hofmannsthal Collaboration" 1978-1979 Gerald Tracy Memorial Scholarship (piano) 1975-1978 Academic Citations in Italian 1, Music 59, Russian 1 (Dartmouth College) 1975-6, 1978-9 Rufus Choate Scholar (1st honor group) SPECIALIZATIONS Ph. D. dissertation: "Richard Wagner and the Aesthetics of Musical Form in the Mid-19th Century (1840-1860)" Music of the 19th century, Wagner's operas and prose works; history of music criticism and aesthetics; German Romanticism; Mendelssohn; music and visual culture in the 18th and 19th centuries; Music and the Gothic, American musical theater Languages: German, French, Italian (Russian, Latin) Editor-in-Chief: Journal of the American Musicological Society, vols. 52-54 (1999-2001) Editorial board: Nineteenth-Century Studies (2000- ) Cambridge Opera Journal (2003- ) Advisory board: Nineteenth-Century Music Review (2004- ); WagnerSpectrum (Germany/UK/US, 2005- ), Columbia Themes in Philosophy, Social Criticism, and the Arts (2006-12); Wagner Journal (UK, 2007- ); Cambridge Wagner Encyclopedia (2009-13) PUBLICATIONS BOOKS Wagner and his World: general editor, contributor of one chapter and a selection of documents (translated, annotated, introduced). Bard Music Festival series, published by Princeton University Press (2009) Cambridge Companion to Wagner: general editor, author of introduction, chronology, and chapters 2, 6, 12 (Cambridge University Press, 2008) Richard Wagner: Der fliegende Holländer (Cambridge Opera Handbook series, Cambridge University Press, 2000): general editor; author of chapter 1 ("The return of the prodigal son: Wagner and Der fliegende Holländer"), chapter 3 ("Text, action, and music"), and 4 ("Romantic opera as 'dramatic ballad': Der fliegende Holländer and its generic contexts"); appendices pp. 166-200. Wagner's Musical Prose: Texts and Contexts (Cambridge University Press, 1995) (Series, “New Perspectives in Music History and Criticism") ARTICLES, CHAPTERS, ENTRIES T. S. Grey curriculum vitae Page 3 11/19/2017 “Deformed Beauty? Narrative and Musical Form in Mendelssohn’s Overture to the Tale fo the Fair Melusina, op. 32,” in Re-thinking Mendelssohn, ed. Benedict Taylor (Oxford and New York: Oxford University Press, 2018) “The idea of nature in Wagner’s Ring Cycle,” in The Cambridge Companion to Wagner’s Ring of the Nibelung, ed. Mark Berry and Nicholas Vazsonyi (Cambridge University Press, forthcoming 2018) “Ideas of Redemption and the Total Artwork in Wagner’s Encounters with Faust,” chapter 6 of Oxford Handbook of Faust in Music, ed. Lorna Fitzsimmons and Charles McKnight (Oxford and new York: Oxford University Press, 2018), 151-78 “Wagner’s Ring as Eco-Parable,” in Music Theater as Global Culture: Wagner’s Legacy Today (Thurnauer Schriften zum Musiktheater vol. 25), ed. Anno Mungen, Nicholas Vazsonyi, Julie Hubbert, Ivana Rentsch, and Arne Stollberg (WürzburgK Königshausen & Neummann, 2017), 183-98. “The Owl, the Nightingale, and the Jew in the Thorn-bush: Re-locating Anti- Semitism in Die Meistersinger von Nürnberg,” with Kirsten Paige (U. C. Berkeley), Cambridge Opera Journal 28:1 (March 2016): 1-35 With Adrian Daub (Stanford, Department of German Studies), “Wagner after Freud:Stages of Analysis,” for special issue of The Opera Quarterly (“Opera After Freud”) 31:1-2 (Winter-Spring 2015): 116-33 “Absolute music,” chapter 1 of Issues in the Aesthetics of Music: Musicological Perspectives, ed. Steven Downes (London and New York: Routledge, 2014) “Music and the Gothic Imaginary: Visualizing the ‘Bleeding Nun’ from Matthew Lewis’s The Monk to Charles Gounod’s La Nonne sanglante,” in Art, Theatre and Opera in Paris 1750-1850, ed. Sarah Hibberd and Richard Wrigley (Burlington VT and Aldershot, Hants. UK: Ashgate Publishing, 2014) Entries (26) for Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi (Cambridge University Press, 2014); member, editorial advisory board “Wagner and the Makart Style,” Cambridge Opera Journal 25:3 (November 2013): 225-60 Gabriele D’Annunzio’s “Il Caso Wagner”: annotated translation with introduction (with James Westby), Leitmotive: The Wagner Quarterly 26:3 (Fall 2012): 6- 26 “Absolute music,” chapter 1 of Issues in the Aesthetics of Music: Musicological Perspectives, ed. Steven Downes (London and New York: Routledge, 2014), 42-61 T. S. Grey curriculum vitae Page 4 11/19/2017 “Music and the Gothic Imaginary: Visualizing the ‘Bleeding Nun’ from Matthew Lewis’s The Monk to Charles Gounod’s La Nonne sanglante,” in Art, Theatre and Opera in Paris 1750-1850, ed. Sarah Hibberd and Richard Wrigley (Burlington VT and Aldershot, Hants. UK: Ashgate Publishing, 2014), 77-106 Entries (26) for Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi (Cambridge University Press, 2014); member, editorial advisory board “Wagner and the Makart Style,” Cambridge Opera Journal 25:3 (November 2013): 225-60 Gabriele D’Annunzio’s “Il Caso Wagner”: annotated translation with introduction (with James Westby), Leitmotive: The Wagner Quarterly 26:3 (Fall 2012): 6- 26 “Wagner, Richard.” Oxford Bibliographies Online: Music (Oxford University Press, 2013- ) “Das Rheingold,” for Wagner-Handbuch, ed. Laurenz Lütteken et al. (Kassel: Bärenreiter, and Stuttgart: Metzler, 2012), 341-47. “On Wings of Song: Representing Music as Agency in Nineteenth Century Culture,” in Music and Representation, ed. Joshua Walden (Cambridge University Press, 2013), 103-26. “In the realm of the senses: sight, sound and the music of desire in Tristan und Isolde,” in Richard Wagner: Tristan und Isolde (Cambridge Opera Handbook series), ed. Arthur Gross (Cambridge: Cambridge University Press, 2011) 69- 94. Chapters 33 (“Eduard Hanslick”) and 35 (“Richard Wagner”) in Routledge Companion to the Philosophy and Music, ed. Theodore Gracyk and Andrew Kania (London and New York: Routledge, 2011), 360-70 and 380-90. “’Berückend wie ein Zauber, aber nicht beglückend wie ein Kustwerk’: Eduard Hanslicks Bewertung von Richard Wagner als musiktheatralischer Maler und Regisseur,” in Eduard Hanslick zum Gedenken: Bericht des Symposions Anlass seines 100. Todestages, ed. T. Antonicek, G. Gruber, and C. Landerer (Tutzing: Schneider, 2010), 233-48. “Hans von Bülow on Richard Wagner’s Faust Overture” (translation of 1860 pamphlet by Hans von Bülow, with introduction and annotations ), in Wagner Journal 3:3 (November 2009): 4-28 “The Musical Language of Das Rheingold,” in Leitmotive: The Wagner Quarterly (Spring 2009): 6-20 and 23:2 (Summer 2009): 17-31 T. S. Grey curriculum vitae Page 5 11/19/2017 “Wagner, Offenbach, and Aristophanes: Classical Comedy, Modern Music, and Cultural politics in 1870,” in Wagner and his World, ed. T. Grey (Princeton: Princeton University Press, 2009) Annotated translations and introductions to biographical documents, selected writings, and criticism relating to Richard Wagner for Wagner and his World, ed. T. Grey (Princeton: Princeton University Press, 2009): “Wilhelmine Schröder-Devrient and Wagner’s Dresden” (Claire von Glümer, Henry Chorley), 201-29; “Catulle Mendès Visits Tribschen, 230-36; “Recollections of Villa Wahnfried from Wagner’s American Dentist,” 237-50; “Wagner Admires Meyerbeer,” 335-46; “Debacle at the Paris Opéra (reviews of Tannhäuser by Oscar Comettant an Paul Scudo, trans.), 347-71; “Hanslick contra Wagner,” 409-25; “The Complete Program Notes of Richard Wagner,” 479-522. “Richard Wagner: Autobiographical Sketch (to 1842),” annotated translation for The Wagner Journal 2:1 (March 2008): 42-58 Chapters 2, 6, and 12 in The Cambridge Companion to Wagner (Cambridge
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