Staff profile
| Affiliation | Telephone |
|---|---|
| Combined Role in the Department of Music |
Biography
Mr Dominik Ralph Mitterer studied Musicology and Philosophy at the Ludwig-Maximilian's University Munich, University College Dublin, and the University of Manchester. He completed his M.Mus. postgraduate studies with distinction at the University of Manchester in December 2019. Since 2021 he has been a PhD Student and postgraduate teaching asssistant at Durham University. Funded by the Cusanuswerk doctoral fellowship and supervised by Prof. Julian Horton and Prof. Katherine Hambridge, Dominik's PhD focuses on the politics of form in violin concerti composed in Vormärz Leipzig. His research brings the fields of analysis and the new Formenlehre, music & politics, and philosophy & aesthetics into a cross disciplinary-dialogue.
Dominik works as Doctoral Research assistant for Prof. Julian Horton (Durham University) and Prof. Peter Smith (Notre Dame University) on the Typology of Romantic Violin Concerti, a project funded by the 'Durham-Notre Dame Seedcorn Fund.' In the past, he has held assistant positions in the field of the critical editing of music for the Gesellschaft für Bayerische Musikgeschichte e. V. and for the aural history project 'Recording Forgotten Voices of former NAPOLA Pupils' supporting the historian Dr. Helen Roche (Durham University). Beside his doctoral training, he holds the position as secretary of the Royal Musical Association's Music & Philosophy Study Group.
Conference Papers
'"Einheit", "Freiheit", and Vormärz Aesthetics: Political ventures through formal strategies in Ferdinand David's Violin Concerti', Annual Conference of the American Musicological Society, Denver, November 2023.
'Incomplete or Unified? Vormärz Violin Concerti and Techniques of Formal Compression, (In-)Completeness, and (Dis-)Unity', Oxford University, Annual Conference of the Society for Music Analysis, July 2023.
'"Virtuosity" and the Politics of Freedom: Joseph Joachim's Concerto, op. 11, "In Ungarischer Weise" in dialogue with Hegelian Philosophy', Durham University, Royal Musical Association's Annual Conference, September 2022.
'Johann Paul von Westhoff's Six Suites for Violin Solo - Origin, Context, and Effect', University College Dublin, ICTM / SMI Postgraduate Conference, December 2016.
Teaching
Academic Year 2023-24: Seminars and Formative marking in Analysis 1: Elements of Tonal Theory and Practice.
Academic Year 2022-23: Seminars in Analysis 1: Elements of Tonal Theory and Practice.
Academic Year 2022-23: Formative Marking in Music and Politics in France, 1789-1815.
Academic Year 2021-22: Seminars and Tutorials in Analysis 1: Elements of Tonal Theory and Practice.
Research interests
- 19th Century Music and Vormärz Germany
- New Formenlehre and Violin Concerto Form
- Virtuosity and Virtuoso Repertoire
- Music, Politics & Political Philosophy
- Aesthetic Theory and the history of Aesthetics from Enlightenment to Romanticism, especially German Idealism.
Publications
Book review
Conference Paper
- Mitterer, D. (2024, July). Substance, Subject, and Functional Metamorphosis: Theorising Collective Subjectivity in Ferdinand David’s Solo-Tutti Interaction. Paper presented at Edinburgh Music Analysis Conference, Edinburgh
- Mitterer, D. (2023, July). 'Incomplete or Unified? Vormärz Violin Concerti and Techniques of Formal Compression, (In-)Completeness, and (Dis-)Unity'. Paper presented at Society for Music Analysis Annual Conference (OxMAC23), Oxford University
- Mitterer, D. (2016, December). Johann Paul von Westhoff's Six Suites for Violin Solo - Origin, Context, and Effect. Paper presented at ICTM / SMI Postgraduate Conference, University College Dublin
Presentation
- Mitterer, D. (2023, December). "Einheit", "Freiheit", and Vormärz Aesthetics: Political ventures through formal strategies in Ferdinand David's Violin Concerti. Paper presented at 2023 AMS Annual Meeting, Denver
- Mitterer, D. (2022, September). "Virtuosity" and the Politics of Freedom: Joseph Joachim's Concerto, op. 11, "In Ungarischer Weise" in dialogue with Hegelian Philosophy. Paper presented at Royal Musical Association 58th Annual Conference Durham University