Benedict is Reader in Music at the University of Edinburgh. He received his MA and PhD from St Catharine’s College, Cambridge, subsequently holding fellowships at Heidelberg, Princeton and Berlin, and worked previously at Oxford as Lecturer in Music and Senior Research Fellow at Magdalen and New College.
Benedict’s research and teaching interests include musical temporality and subjectivity, theory and analysis (especially 19th-century form and late-Romantic harmonic practice), philosophy, and the history of music c. 1770–1945 (with particular focus on Mendelssohn, besides the music of Haydn, late Beethoven, Schubert, Weber, and Schumann; British music; and late Romantic music). He is the author of four monographs: the first, Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form, published by Cambridge University Press in 2011, offers the first substantial account of the development of cyclic form in the nineteenth century. The second, The Melody of Time: Music and Temporality in the Romantic Era, is an analytical and philosophical study of the relation between music and time from Beethoven and Schubert to Franck and Elgar, published by Oxford University Press in 2015. His following RMA Monograph, Towards a Harmonic Grammar of Grieg’s Late Piano Music: Nature and Nationalism, explored the harmonic usage of late 19th-century composers outside or on the periphery of the Austro-German tradition, extending recent work in neo-Riemannian theory and the geometries of tonality into wider cultural issues pertaining to nationalist discourses and historiography. His latest book, Arthur Sullivan: A Musical Reappraisal, appeared in August 2017 in Routledge’s Music in Nineteenth-Century Britain series. He has edited four further books and is the co-editor of a special issue of 19th-Century Music on subjectivity and song. In addition, he has published on a broad range of music from the eighteenth to twentieth centuries in leading journals such as 19th-Century Music, Music & Letters, Music Theory Spectrum, Music Analysis, Journal of Music Theory, Journal of Musicology, Musical Quarterly, Journal of the Royal Musical Association, and Eighteenth-Century Music.
Benedict has held fellowships from the Alexander von Humboldt and Andrew W. Mellon Foundations, and is the recipient of the Jerome Roche Prize from the Royal Musical Association. Future projects include a study of instrumental form in the first half of the nineteenth century, an account of the idea of musical subjectivity, and an edited volume Rethinking Mendelssohn (forthcoming from Oxford University Press in 2019). He is currently co-editor of Music & Letters and also serves on the editorial board of Music Analysis.
As Course Organiser:
Music Analysis 1
Music Analysis 2
Music Analysis 3
Beethoven: Man, Music, Myth
Mendelssohn and the Making of 19th-Century Musical Culture
MMus: Research Methods
MMus: Music, Philosophy and Politics
Other courses on which Benedict has taught:
Ways of Listening
Research Methods in Music
Music and Ideas from the Middle Ages to Viennese Classicism
Music and Ideas from Romanticism to the Late Twentieth Century
Dissertation supervisor for a number of undergraduate, Master's, and PhD students
Benedict convenes the Music and Philosophy Reading Group on Monday lunchtimes.
Temporality and Subjectivity in Music
Music Theory and Analysis (especially Formenlehre and late-Romantic harmony)
19th- and early 20th-Century Music
British Music, c. 1860–1940
Philosophy and Aesthetics
Benedict's research interests concentrate historically on Classical-Romantic music from Haydn to the Second Viennese School, though he has published more broadly on music stretching from Handel to Messiaen, and his background specialisation in German and British music is counterbalanced by a sympathy for a far wider range of European and American musics. Although ranging from theoretical accounts of form and harmony to more philosophical studies of time and subjectivity, generally his work seeks to meld close analytical engagement with the musical work and its experience with wider aesthetic questions of meaning.
19th-Century Music, with a special emphasis on Mendelssohn, Beethoven, Schubert, and Schumann; more broadly, Western music from Haydn to the Second Viennese School (especially German and British music)