Dr Davinia Louise Caddy
PhD MA (Cambridge), PgDigLATHE (Oxford), FHEA, LGSM (Flute performance)
Following successful completion of her doctorate (University of Cambridge, 2005), Davinia Caddy took up the positions of Junior Research Fellow at The Queen's College, University of Oxford, and Early Career Development Fellow at the Faculty of Music, Oxford. She went on to become Senior Lecturer in Music at Oxford Brookes University, before emigrating to New Zealand in July 2009. Broadly speaking, Davinia's research centres on the cultural history of music in early twentieth-century France. She seeks to explore how music was variously conceived, received, used (even abused), celebrated and popularised by a cross section of society, and how its evolving meaning and significance was shaped by contemporary aesthetic and ideological debates. She is particularly interested in the inter-relations between music, dance (ballet, modern dance) and the visual arts and is working on a book project about the three. In addition, she is currently collaborating with Maribeth Clark on an edited volume titled Musicology and Dance: Narratives of Embodiment in the Western Canon. Previous publications include: her first book, The Ballets Russes and Beyond: Music and Dance in Belle-Époque Paris, published in 2012 by Cambridge University Press as part of their 'New Perspectives in Music History and Criticism' series; 'Representational Conundrums: Music and Early Modern Dance', a chapter in Joshua S. Walden (ed.), Representation in Western Music (Cambridge University Press, 2013); and articles and reviews in Cambridge Opera Journal, 19th-Century Music, Journal of the Royal Musical Association, Music & Letters, Opera Quarterly, and Journal of the American Musicological Society.
Besides her academic research, Davinia enjoys writing for the general public. Her first general-interest book, How To Hear Classical Music, was published in 2013 by Awa Press (as part of their 'Ginger Series' of atypical How to guides). Davinia has also featured regularly on Radio New Zealand National and Concert.
Research | Current
- Research trends in musicology and dance
- French musical culture and criticism in the belle époque, with special focus on the inter-relations between music, dance and the visual arts
- Contemporary musical culture, especially choreographic re-imaginings of the Western musical canon
Teaching | Current
- Writing About Music (Stage 1)
- Contemporary Musical Culture (Stage 2)
- Advanced Analysis/Twentieth-Century Music (Stage 3 and Hons)
- Nineteenth-Century Opera (Stage 3 and Hons)
- Research Concepts and Methods in Historical Musicology (Hons)
Davinia has supervised postgraduate dissertations and theses in the following areas: eighteenth-century flute development in context; 'circles' and 'clouds' within contemporary jazz line; new directions in harmony for jazz musicians; film music and industry in New Zealand; Alfred Schnittke and musical postmodernism; Steve Reich, 'phase' and 'pulse' minimalism; cartoon music; opera criticism and the business of reinvention; perspectives on 'Russianness' in early twentieth-century Paris; Symbolism and nationalism in the music of Claude Debussy; music and Batman; music and cinematic narration; and representations of female character-types in fin-de-siècle opera.
Early Career Research Excellence Award, University of Auckland, 2012
Postgraduate Diploma in Learning and Teaching in Higher Education, University of Oxford, 2007
Licentiate of the Guildhall School of Music and Drama (Flute Performance), 1996
Davinia is Deputy Chair of the Faculty Research Committee, Chair of the School of Music Research Committee and Musicology Committee, and co-founder and co-ordinator of the School's 'Fermata' series of fortnightly public lectures. She also runs a Postgraduate Reading Group at which students and staff discuss the latest musicological research, as well as trends in the wider arts and humanities.
Areas of expertise
Research trends in musicology and dance; French musical culture and criticism during the belle époque, with special focus on the inter-relations between music, dance and the visual arts.
- Member of the Royal Musical Association
- Member of the American Musicological Society
- Member of the Advisory Board, Tempo
- Member of the Francophone Music Criticism Network
- Fellow of the Higher Education Academy (UK)
Selected publications and creative works (Research Outputs)
- Caddy, D. L. (2017). Music and forms of attention in the long nineteenth-century. Paper presented at AMS Roschester 2017, Rochester NY. 9 November - 12 November 2017. American Musicological Society Rochester 9–12 November 2017 Program& Abstracts.
- Caddy, D. L. (2017). Moving moves in reception history: Models of sensory-perceptual experience on the belle-epoque stage. Paper presented at AMS Rochester 2017, Rochester, New York. 9 November - 12 November 2017. American Musicological Society Rochester 9–12 November 2017 Program& Abstracts.
- Caddy, D. (2016). [Archive fever]. Paper presented at Music in London Special Meeting (Vancouver AMS Conference), Vancouver, Canada. 3 November - 6 November 2016.
- Caddy, D. (2016). Holding Hands Verdi, 'Tu che le vanità' (Elisabetta), Don Carlo, Act IV. Cambridge Opera Journal, 28 (2), 209-214. 10.1017/S0954586716000264
- Caddy, D. (2016). [Choreographic notation in the Nineteenth Century]. Paper presented at Music in London: Music and dance in early nineteenth-century London, King's College, London, UK.
- Caddy, D. (2016). Picturing the Paris Salome, May 1907. The Opera Quarterly, 32 (2-3), 160-191. 10.1093/oq/kbx005
- Caddy, D. L. (2015). Review: Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century, Mary Simonson [Book review]. Journal of the American Musicological Society, 68 (1), 233-238. 10.1525/jams.2015.68.1.233
- Caddy, D. (2013). How to hear classical music (1st). Wellington, NZ: Awa Press. Pages: 145.