![Carlo Cenciarelli BA (Soton) MMus (KCL) PhD (KCL)](https://profiles-cardiff.imgix.net/attachments/2776?w=200&h=200&auto=format&crop=faces&fit=crop&q=90")
Dr Carlo Cenciarelli
(he/him)
BA (Soton) MMus (KCL) PhD (KCL)
Lecturer and Director of Postgraduate Taught Studies (MA in Music)
- Available for postgraduate supervision
Overview
I specialise on sound and the moving image, and I am particularly interested in the ways in which cinema—throughout 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 Music, Cambridge Opera Journal, Music and Letters, Radical Musicology, the Journal of the Royal Musical Association, and New Formations. 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.
Publication
2023
- Cenciarelli, C. 2023. 'Hello darkness, my old friend': The company of music in a cinema of (shared) loneliness. New Formations 2023(109), pp. 29-46. (10.3898/NEWF:109.03.2023)
2021
- Cenciarelli, C. 2021. The possibilities of cinematic listening - an introduction. In: Cenciarelli, C. ed. The Oxford Handbook of Cinematic Listening. Oxford University Press, pp. 1-26., (10.1093/oxfordhb/9780190853617.013.1)
- Cenciarelli, C. 2021. iPod listening as an I-voice: solitary listeners and imagined interlocutors across cinema and personal stereos. In: Cenciarelli, C. ed. The Oxford Handbook of Cinematic Listening. Oxford Handbooks Oxford: Oxford University Press, pp. 669-689., (10.1093/oxfordhb/9780190853617.013.35)
- Cenciarelli, C. ed. 2021. The Oxford handbook of cinematic listening. Oxford Handbooks. Oxford: Oxford University Press.
2018
- Cenciarelli, C. 2018. The sense of an ending: music, time and romance in Before Sunrise. In: Bayman, L. and Pinazza, N. eds. Journeys on Screen: Theory, Ethics and Aesthetics. Edinburgh: Edinburgh University Press, pp. 167-182.
2016
- Cenciarelli, C. 2016. The limits of operatic deadness. Cambridge Opera Journal 28(2), pp. 221-226. (10.1017/S0954586716000276)
2015
- Cenciarelli, C. 2015. 'Warped singing': opera from cinema to YouTube. In: Vincent, D. ed. Verdi on Screen. Lausanne: L'Age d'Homme, pp. 251-267.
2014
- Cenciarelli, C. 2014. Lucrezia in 3D: il fallimento di critica, gli scollamenti formali e le epistemologie web della prima opera in tridimensione. Presented at: Convegno internazionale di studi: Donizetti in scena. Vedere l’opera, Bergamo, 12-14 October 2012 Presented at Fornoni, F. ed.Donizetti in scena : attualità det testo-spettacolo : atti del Convegno internazionale, Bergamo, 12-14 ottobre 2012. Bergamo: Fondazione Donizetti
2013
- Cenciarelli, C. 2013. At the margins of the televisual: picture frames, loops and ‘cinematics’ in the paratexts of opera videos. Cambridge Opera Journal 25(2), pp. 203-223. (10.1017/S0954586713000074)
- Cenciarelli, C. 2013. "What Never Was Has Ended": Bach, Bergman and the Beatles in Christopher Münch’s 'The Hours and Times'. Music and Letters 94(1), pp. 119-137. (10.1093/ml/gct038)
2012
- Cenciarelli, C. 2012. Dr Lecter’s taste for 'Goldberg', or: the horror of Bach in the Hannibal franchise. Journal of the Royal Musical Association 137(1), pp. 107-134. (10.1080/02690403.2012.669929)
2011
- Cenciarelli, C. 2011. Bach and cigarettes: imagining the everyday in Jarmusch’s Int. Trailer. Night.. Twentieth-Century Music 7(2), pp. 219-243. (10.1017/S147857221100017X)
2009
- Cenciarelli, C. 2009. Off key: when film and music won't work together. By Kay Dickinson [Book Review]. Music and Letters 90(2), pp. 320-322. (10.1093/ml/gcn123)
2006
- Cenciarelli, C. 2006. The case against Nyman revisited: “affirmative” and “critical” evidence in Michael Nyman’s appropriation of Mozart. Radical Musicology 2006(1), pp. 84 pars.
Articles
- Cenciarelli, C. 2023. 'Hello darkness, my old friend': The company of music in a cinema of (shared) loneliness. New Formations 2023(109), pp. 29-46. (10.3898/NEWF:109.03.2023)
- Cenciarelli, C. 2016. The limits of operatic deadness. Cambridge Opera Journal 28(2), pp. 221-226. (10.1017/S0954586716000276)
- Cenciarelli, C. 2013. At the margins of the televisual: picture frames, loops and ‘cinematics’ in the paratexts of opera videos. Cambridge Opera Journal 25(2), pp. 203-223. (10.1017/S0954586713000074)
- Cenciarelli, C. 2013. "What Never Was Has Ended": Bach, Bergman and the Beatles in Christopher Münch’s 'The Hours and Times'. Music and Letters 94(1), pp. 119-137. (10.1093/ml/gct038)
- Cenciarelli, C. 2012. Dr Lecter’s taste for 'Goldberg', or: the horror of Bach in the Hannibal franchise. Journal of the Royal Musical Association 137(1), pp. 107-134. (10.1080/02690403.2012.669929)
- Cenciarelli, C. 2011. Bach and cigarettes: imagining the everyday in Jarmusch’s Int. Trailer. Night.. Twentieth-Century Music 7(2), pp. 219-243. (10.1017/S147857221100017X)
- Cenciarelli, C. 2009. Off key: when film and music won't work together. By Kay Dickinson [Book Review]. Music and Letters 90(2), pp. 320-322. (10.1093/ml/gcn123)
- Cenciarelli, C. 2006. The case against Nyman revisited: “affirmative” and “critical” evidence in Michael Nyman’s appropriation of Mozart. Radical Musicology 2006(1), pp. 84 pars.
Book sections
- Cenciarelli, C. 2021. The possibilities of cinematic listening - an introduction. In: Cenciarelli, C. ed. The Oxford Handbook of Cinematic Listening. Oxford University Press, pp. 1-26., (10.1093/oxfordhb/9780190853617.013.1)
- Cenciarelli, C. 2021. iPod listening as an I-voice: solitary listeners and imagined interlocutors across cinema and personal stereos. In: Cenciarelli, C. ed. The Oxford Handbook of Cinematic Listening. Oxford Handbooks Oxford: Oxford University Press, pp. 669-689., (10.1093/oxfordhb/9780190853617.013.35)
- Cenciarelli, C. 2018. The sense of an ending: music, time and romance in Before Sunrise. In: Bayman, L. and Pinazza, N. eds. Journeys on Screen: Theory, Ethics and Aesthetics. Edinburgh: Edinburgh University Press, pp. 167-182.
- Cenciarelli, C. 2015. 'Warped singing': opera from cinema to YouTube. In: Vincent, D. ed. Verdi on Screen. Lausanne: L'Age d'Homme, pp. 251-267.
Books
- Cenciarelli, C. ed. 2021. The Oxford handbook of cinematic listening. Oxford Handbooks. Oxford: Oxford University Press.
Conferences
- Cenciarelli, C. 2014. Lucrezia in 3D: il fallimento di critica, gli scollamenti formali e le epistemologie web della prima opera in tridimensione. Presented at: Convegno internazionale di studi: Donizetti in scena. Vedere l’opera, Bergamo, 12-14 October 2012 Presented at Fornoni, F. ed.Donizetti in scena : attualità det testo-spettacolo : atti del Convegno internazionale, Bergamo, 12-14 ottobre 2012. Bergamo: Fondazione Donizetti
Research
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 Association, twentieth-century music, Cambridge Opera Journal, Radical Musicology, Music and Letters, and New Formations. 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.
Teaching
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.
Biography
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.
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)
Supervisions
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.
Current supervision
Research themes
Specialisms
- Film music
- Cinema studies
- Audio-visual theory and analysis
- Sound Studies
- History of Listening