Dr Katherine Hambridge
(email at email@example.com)
Katherine Hambridge is a Lecturer in Musicology at Durham University. Her research focusses on French and German musical life in the first half of the nineteenth century.
Katherine gained her undergraduate and postgraduate degrees in Music at the University of Cambridge, during which time she held the organ scholarship at Girton College. In her doctoral research on Berlin, 1800-1815 (completed 2013), she examined how music – in concerts and in the theatre – articulated and shaped Berliners’ relationships with the past and their political affiliations in the turbulent Napoleonic period. After her PhD, Katherine spent time in Berlin on a Deutscher Akademischer Austausch Dienst research grant, working on a project on the city's first Volkstheater, the Königsstädtisches Theater, before taking up a post as research fellow in the School of Modern Languages and Cultures at the University of Warwick, on the interdisciplinary AHRC-funded project on ‘French Theatre of the Napoleonic Era’. She joined the department at Durham in 2016.
Katherine’s current research concerns the transfer and circulation of theatre repertoire and personnel between Paris, Vienna and Berlin, in particular, the assertion and reception of genre: the different relationships between words, music and stagecraft associated with the different genres; and the extent to which these categories were meaningful for audiences. More broadly she is interested in music and politics, musical experiences of temporality and of the past, song and subjectivity and the emergence of Romanticism in music culture during the 'age of revolutions' in central Europe (1789-1848).
Her research has been published in the Annales de la Révolution française, the Cambridge Opera Journal and the Journal of the American Musicological Society; her article for the latter, "Staging Singing in the Theater of War (Berlin, 1805)", won the Royal Musical Association’s 2016 Jerome Roche Prize. Together with colleagues at Warwick, she was responsible for curating and editing the online exhibition ‘The Last Stand: Napoleon’s 100 Days in 100 Objects’ (www.100days.eu), which attempted to provide some historical balance and nuance to the commemoratory activities surrounding the 200-year anniversary of the Battle of Waterloo in 1815. Joint with the ERC-funded project ‘Music in London 1800-1851’ at King’s College London, on which she is a Research Associate, she organised an interdisciplinary conference in March 2014 on early nineteenth-century melodrama across Europe, entitled ‘The Melodramatic Moment, 1790-1820’. She is editing the resulting essay collection with Jonathan Hicks.
Chapter in book
- Hambridge, K. G. & Andries, A. (2017). Music, Women and the Allure of Napoleon. In The Allure of Napoleon: Essays Inspired by the Collections of The Bowes Museum. Stammers, T. Barnard Castle, County Durham: Bowes Museum. 19-22.
- Hambridge, Katherine (2016). Melodramatic Histrionics Bernhard Anselm Weber, ‘Ich bin geliebt’ (Sulmalle), Sulmalle. Cambridge Opera Journal 28(2): 141-144.
- Hambridge, Katherine (2015). ‘Des fêtes anniversaires royales aux fêtes nationales? Pratique musicale et politique à Berlin, 1800-1815’. Annales de la Révolution française 379: 131-164.
- Hambridge, Katherine (2015). Staging Singing in the Theater of War (Berlin, 1805). Journal of the American Musicological Society 68(1): 39-98.
Other (Digital/Visual Media)
- Astbury, Katherine, Hambridge, Katherine & Philp, Mark (2015). The Last Stand: Napoleon's 100 Days in 100 Objects (website).