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Dr Guido Heldt

Dr Guido Heldt

Dr Guido Heldt
D.Phil.

Senior Lecturer in Music

Victoria Rooms,
Queens Road, Clifton BS8 1SA
(See a map)

+44 (0) 117 3314045

Summary

Music and film has been the main field of my research for more than a decade, with work on film music and narrative theory (monograph Music and Levels of Narration in Film. Steps across the Border, 2013), on composer biopics and on musical films in Nazi cinema (and after), but also on other topics: film music by Hanns Eisler, Ennio Morricone or Michael Nyman; music in Mildred Peirce, The Truman ShowThe Blair Witch Project, Dancer in the Dark or German 60s TV series Raumpatrouille; music in romantic comedies, GDR films or films about Stonehenge. I am currently writing a monograph on music and comedy in film and narrative television, a topic that, puzzlingly, had been ignored by film music scholarship for a long time.

A second field of research has been English twentieth-century art music. I wrote my PhD dissertation on English tone poems in the early 20th century and questions of a national music at the University of Münster/Germany (published in 2007 as Das Nationale als Problem in der englischen Musik des frühen 20. Jahrhunderts. Tondichtungen von Granville Bantock, Ralph Vaughan Williams, Edward Elgar, George Butterworth, Gerald Finzi und Gustav Holst), but have also written about Benjamin Britten, Frederick Delius and other aspects of British art-music history. I am currently co-director of CHOMBEC, the Centre for the History of Music in Britain, the Empire and the Commonwealth here at the Department of Music. A long-term ambition of mine is to write a book on pastoral music, but it may be a while until that idea reaches a more concrete form.

2001-2010 I was co-editor of the cultural-studies journal Plurale. Zeitschrift für Denkversionen. Since 2006 I have been a member of the editorial team of the online journal Kieler Beiträge zur Filmmusikforschung, the only academic journal for screen media musicology in German. I am also a member of the editorial board of the journal The SoundtrackWith Phil Powrie (University of Surrey), I co-edited a special issue for the journal Music, Sound and the Moving Image (vol. 8:2, 2014) on music in film and TV trailers, title sequences and end credits, and together with Peter Moormann (University of Cologne/Germany), Tarek Krohn and Willem Strank (both University of Kiel/Germany), I am co-editor of the book series FilmMusik (Munich: edition text + kritik); volumes 1, 2 and 3 on Ennio Morricone, on music in the films of Martin Scorsese and on music in film comedies have been published (2014, 2015 & 2017), the fourth volume on music in film title sequences is in preparation (for publication in 2018), and a fifth volume on sound design in film is in planning.

Biography

I studied musicology, art history and philosophy at the University of Münster/Germany, and as a visiting student at King's College London and at Oxford University. In 1997 I got my Ph.D. at Münster with a thesis on English tone poems in the early 20th century and ideas of a national music in England.

1997-2003 I worked as a lecturer at the Department of Musicology of the Free University Berlin and in autumn/winter 2003 as a visiting lecturer at the History Department of Wilfrid Laurier University, Waterloo/Ontario in Canada. I joined the Bristol Music Department in autumn 2004.

2001-2010 I was co-editor of the cultural-studies journal Plurale. Zeitschrift für Denkversionen (= Plurals. Journal for Versions of Thinking). Since 2006 I have been a member of the editorial team of the online journal Kieler Beitrge zur Filmmusikforschung (= Kiel Contributions to Film Music Research), currently the only academic journal for screen media musicology in German. I am also a member of the editorial board of the journal The Soundtrack.

Together with Peter Moormann (Free University Berlin), Tarek Krohn and Willem Strank (both University of Keil/Germany), I am co-editor of the book series FilmMusik (edition text + kritik, Munich); volumes on Ennio Morricone, on music in the films of Martin Scorsese and on music in folm comedies have been published in 2014, 2015 and 2017; a volume on music in film title sequences in preparation for publication in 2018, and a volume on sound design in film is in planning. With Phil Powrie (University of Surrey), I co-edited a special issue for the journal Music, Sound and the Moving Image on music in film and TV trailers, title sequences and end credits (2014).

Teaching

I teach undergraduate units on music history from the 18th century onwards, though with a strong focus on the twentieth and twenty-first centuries. My research-led undergraduate teaching includes units on Gustav Holst & Ralph Vaughan Williams, on classic Hollywood film music, on musician biopics, on music and television, and on film musicals.

At postgraduate level, I also regularly teach a unit on film music analysis for the MA in Composition for Film and TV and contribute to several music history units on the MA in Music.

Recent research student projects supervised by me have been on music and aliens in Star Trek (Timothy Summers) and film scores by Dario Marianelli (Laura Davies) (both MPhil), and on operatic institutions in Britain 1875-1939 (Steven Martin), music in video games (Timothy Summers), pre-existing music in film (Jonathan Godsall), and samba in Brazilian film (Hans Anselmo Hess). Current research student projects are on Eric Harding Thiman (David Dewar, MPhil), and on endings in music (Cecilia Quaintrell), Gustav Holst and folk music (Callum McSherry), and music in recent Taiwanese film (Chia-Yu Chang) (all PhD).

Keywords

  • Film music and narratology
  • musical films
  • music and comedy in film and television
  • the representation of music in film
  • music and television
  • British 20th-century art music.

Memberships

Organisations

Department of Music

Academics by department

Recent publications

View complete publications list in the University of Bristol publications system

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