Professor Michael Allis
- Position: Professor of Musicology
- Areas of expertise: 19th- and early 20th-century British Music; Music in Victorian and Edwardian Britain; Interdisciplinary studies of Music and Literature; Performance; Reception; Sketch studies.
- Email: M.Allis@leeds.ac.uk
- Phone: +44(0)113 343 8219
- Location: 2.04 Music
- Website: Researchgate | ORCID
I studied cello and piano at the Royal College of Music with Anna Shuttleworth and Peter Wallfisch, where I graduated with a first-class BMus from the University of London. Postgraduate work at King's College, London included an MMus in Historical Musicology in 1988, and the completion of my PhD thesis ('The Creative Process of Hubert Parry') in 1994. Following a range of teaching and lecturing posts (King's College London, Bedford Modern School, the Oxford Cello School, Charterhouse, Farringdon College), I became a Lecturer in Academic Studies at the Royal Academy of Music in 1994; as Senior Postgraduate Tutor at the RAM, I was responsible for overseeing academic elements of the taught postgraduate programmes. I joined the University of Leeds as a Senior Lecturer in 2006, and was promoted to a Chair in Musicology in 2015.
I have supervised several PhD projects; these have included (as lead supervisor), topics such as John Ireland's piano music (Mariko Ono, 2009), Henry Wood and J.S. Bach's orchestral music (Hannah French, 2014), National identity in Northern and East European Metal (Mark Deeks, 2017), a reassessment of Leon Goosens (Jonathan Tobutt, 2017), and Musico-Literary Intermediality in Dancefloor-Driven Literature (Simon Morrison, 2018); as co-supervisor, mindfulness for singers (Annie Czajkowski, 2019); as secondary supervisor, amateur music-making in the provinces in 17th-century England (Christopher Roberts, 2015), Reinterpreting Brahms' Violin Sonatas (Jung Yoon Cho, 2017), Arthur Sullivan and the Leeds Triennial Festival (Anne Stanyon, 2018), Performing Editions of Friedrich Grutzmacher (Kate Wadsworth, 2018), and the single-action pedal harp (Masumi Nagasawa, 2019). Current PGRs include Alfia Nakipbekova (approaching 20th-century cello repertoire), John Fallas (the afterlives of genre), and Gianluca Guerriero (invoking music in literature: the instrumental, the sonic and the structural). I have been External Examiner for postgraduate programmes and examinations at Trinity College London, DIT (Dublin Institute of Technology), the University of Newcastle, the University of York, and the University of Durham, external marker at Imperial College, London, and particpated in the Royal College of Music's BMus Review in 2013. I have also examined PhD and MPhil theses at the University of Birmingham (2005 x2), University of Durham (2006, 2007, 2014), the Royal College of Music (2007), the University of Melbourne (2009), and the University of Queensland (2016).
- MMus Performance Programme Manager
My research has focused primarily upon British music and musical life in the long nineteenth century. In addition to the monographs Parry's Creative Process (Ashgate 2003) and British Music and Literary Context (The Boydell Press, 2012) - which explored links between British music and literature in the late nineteenth and early twentieth century (Parry and Bridges, Stanford and Tennyson, Bantock and Browning, Elgar and Bulwer, Elgar and travel literature) - my 2013 book Temporaries and Eternals reproduced and contextualised the music criticisms of Aldous Huxley, and 2017 saw the publication of Granville Bantock's Letters to William Wallace and Ernest Newman, 1893-1921: 'Our new dawn of modern music' (The Boydell Press), which was chosen for the C.B. Oldman Award (given by the International Association of Music Libraries, Achives and Documentation Centres) for 2019 . Several of my interdisciplinary articles and book chapters have focused upon the refiguring of poetry and literature in British music, whether in relation to Bantock's refiguring of Robert Southey in Thalaba the Destroyer (Music & Letters, 2014) and The Curse of Kehama (European Romantic Review, 2016) and his orchestral reworking of Shelley's The Witch of Atlas (Journal of Musicological Research, 2017), narrative issues in the music of Elgar (Music & Letters, 2004; Journal of Musicological Research, 2000) or Joseph Holbrooke's exploration of the uncanny in The Raven, based on Poe's poem (2014). I have also published on music in literature, including topics such as Samuel Butler's obsession with Handel (Handel Jahrbuch, 1998), Aleister Crowley's interest in Wagner (Forum for Modern Language Studies, 2014), and the literary representation of Peter Warlock in Robertson Davies' novel A Mixture of Frailties (University of Toronto Quarterly, 2019). In addition to studies of quotation and allusion in the music of Bax (JRMA, 2011), Stanford's piano music (Music Review, 1994), and a number of chapters and articles on Walter Bache, The Working Men's Society and Liszt reception in 19th-century Britain, my 2008 article in Cambridge Opera Journal focused on issues of tempo in Wagner's Das Rheingold.
Future projects include co-edited books The Oxford Handbook of Music and Intellectual Culture in the 19th Century (OUP,) - which includes my chapter on music and travel literature - and The Symphonic Poem in Britain 1850-1940: Texts and Contexts (which will include my chapter on William Wallace's symphonic poem Villon), plus studies of Parry's Elegy for Brahms, and William Wallace's Sister Helen. I am also a member of the Editorial Boards of The Journal of Victorian Culture and Nineteen.<h4>Research projects</h4> <p>Any research projects I'm currently working on will be listed below. Our list of all <a href="https://ahc.leeds.ac.uk/dir/research-projects">research projects</a> allows you to view and search the full list of projects in the faculty.</p>
- LTCL, HonARAM
- British Association of Victorian Studies
I am Programme Manager for the MMus in Performance, and contribute to teaching in the areas of musicology, analysis and performance.
Research groups and institutes
- Music as Culture