Research interests in 19th and 20th-century music, particularly Robert Schumann, song, opera studies, reception history and analysis.
Laura Tunbridge joined the Oxford Faculty of Music in 2014, having previously been Senior Lecturer at the University of Manchester (2004-2014) and Lecturer at the University of Reading (2002-2004). She read music at The Queen’s College, Oxford, and gained a M.A. from the University of Nottingham and a PhD from Princeton University. Her doctoral dissertation was on Robert Schumann’s music for Byron’s Manfred and the Szenen aus Goethes Faust. Laura has been a Visiting Scholar at Columbia University in New York and at the History of Listening Emmy Noether Research Group at the Max Planck Institute for the History of Science in Berlin, and the recipient of grants from the Arts and Humanities Research Council, the Leverhulme Trust, and the British Academy. She is currently editor of the Journal of the Royal Musical Association.
Laura’s research has concentrated on German Romanticism, with a particular interest in reception through criticism, performance, and composition. Schumann’s Late Style (Cambridge, 2007), considers the composer’s works from the 1850s, paying close attention to the way in which their interpretation and evaluation has been coloured by his biography. In her chapter in Rethinking Schumann (Oxford, 2011), Laura looked at representations of the composer’s mental illness in works by Wolfgang Rihm, Francis Dhomont, and Heinz Holliger. The Song Cycle (Cambridge, 2010) traces a history of the genre from the nineteenth to twenty-first centuries. It explores how ideas about song cycles have been shaped by performers and recording technology, and how song cycles have interacted with other genres: from symphonies and operas to popular music. Laura’s current book project investigates vocal recitals in London and New York during the 1920s and 30s, examining transatlantic relationships, the politics of singing German-language song during the interwar period, the contexts for hearing lieder (from concert halls to vaudeville, ocean liners, luxury hotels and in the home), and the links between live concert practices and early recordings, radio and sound film.
Laura is a founder member of the Oxford Song Network and is a TORCH Knowledge Exchange Fellow, working with the Oxford Lieder Festival on Unlocking late Schumann. She regularly gives pre-concert talks (most recently on Schumann symphonies for the Scottish Chamber Orchestra, on Strauss for the Halle Orchestra, on Brahms for the BBC Proms, and on Schubert for the Oxford Lieder Festival) and appears on the radio. Her current teaching includes undergraduate courses on Richard Strauss and Representations of Women, the String Quartet after Beethoven, Lieder in Theory and Practice, Music Analysis and Criticism, and at Masters level a seminar, Music and Travel.
The Song Cycle (Cambridge University Press, 2010).
Schumann’s Late Style (Cambridge University Press, 2007).
Rethinking Schumann, co-edited with Roe-Min Kok (Oxford University Press, 2011).
‘Saving Schubert: The Evasions of Late Style’. In Late Style and its Discontents, ed. Gordon McMullan and Sam Smiles (Oxford University Press, 2016).
‘Singing against late style: The Problem of Performance History’. In Schubert’s Late Music in History and Theory, ed. Lorraine Byrne Bodley and Julian Horton (Cambridge University Press, 2016), 426-441.
‘Scarlett Johansson’s Body and the Materialization of Voice’, Twentieth-Century Music 13 (2016): 139- 152.
With Wayne Heisler, Jr., ‘Elisabeth Schumann and Richard Specht: Strauss before Sixty’, Opera Quarterly 31:4 (2015) 273-288.
‘“The soft hours of Sardanapalus”: Music and Effeminacy in Byron’s Seraglios’. In Ottoman Empire and European Theatre –Part III: Seraglios and Harems in Theatre, Opera, and Poetry from the Earliest Theatrical Sources to Lord Byron’s “Don Juan” (1819–1824), ed. Inge Praxl and Michael Hüttler (Vienna: Hollitzer, 2015), 281-296.
‘Reading Lieder Recordings’, Colloquy: ‘Studying the Lied: Hermeneutic Traditions and the Challenge of Performance’, Journal of the American Musicological Society 67:2 (2014), 555-560.
‘Opera and Materiality’, review-article in Cambridge Opera Journal 26: 3 (2014): 289-299.
‘Singing Translations: The Politics of Listening between the Wars’, Representations 123 (2013): 53-86.
‘Frieda Hempel and the Historical Imagination’, Journal of the American Musicological Society 66 (2013): 437-474.
‘Robert Schumann’. In The Wagner Encyclopaedia, ed. Nicholas Vazsonyi (Cambridge University Press, 2013).
‘Listening to Gerhardt through the Ages’. In Autorschaft—Genie—Geschlecht, ed. Suzanne Kogler and Kordula Knaus (Vienna: Böhlau, 2012), 179-194.
‘Deserted Chambers of the Mind (Schumann Memories)’. In Rethinking Schumann, ed. Roe-Min Kok and Laura Tunbridge (Oxford University Press, 2011), 395-410.
‘Schumann als “the Perfect Wagnerite”: Seine Rezeption in England um 1900’. In Robert Schumann. Persönlichkeit – Werk – Wirkung, ed. Helmut Loos (Laaber: Gudrun Schroeder, 2011), 424-433.
‘Schumann’s Orchestration for Das Paradies und die Peri and the Szenen aus Goethe’s Faust’, American Choral Directors Association Journal 51 (2010): 8-17.
‘Schumann: A Lover’s Guide’, Review-article for Journal of the Royal Musical Association (2008).
‘The Piano Music II: Afterimages’. In The Cambridge Companion to Schumann, ed. Beate Perrey (Cambridge University Press, 2007), 203-232.
‘Weber’s Ghost: Euryanthe, Genoveva, Lohengrin’. In Music, Theatre and Politics in Germany: 1848 to the Third Reich, ed. Nikolaus Bacht (Ashgate, 2006), 9-29.
‘From Count to Chimneysweep: Byron’s Manfred in London Theatres’, Music and Letters 87 (2006): 212-236.
‘Schumann as Manfred’, Musical Quarterly 87 (2004): 546-569.
‘Schumann’s Manfred in the Mental Theatre’, Cambridge Opera Journal 15 (2003): 153-183.
Faculty of Music
Tel: +44 (0)1865 276 135