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Dr Nicole Grimes studied musicology at Trinity College Dublin and Ludwig Maximilians University, Munich. She was awarded a PhD in 2008 for her dissertation "Brahms's Critics: Continuity and Discontinuity in the Critical Reception of Johannes Brahms." Her research is concerned with the music of the nineteenth century, particularly that of Brahms, Mendelssohn and Schumann. It focuses at the intersection between nineteenth- and twentieth-century German music criticism, music analysis and music aesthetics. She is the editor of Rethinking Hanslick: Music, Formalism, and Expression (Rochester: University of Rochester Press, March 2013) with Siobhán Donovan and Wolfgang Marx, and editor of Mendelssohn Perspectives (Aldershot: Ashgate, 2012) with Angela R. Mace. She has published articles in various scholarly journals including Music Analysis, Ad Parnassum, and the Journal of the Society for Musicology in Ireland.
Nicole is currently a Marie Curie Fellow at the School of Music, University College Dublin, where she is working on a book that explores the reciprocal relationship between Brahms's music and the Austro/German intellectual tradition(s). Her research for this book is being undertaken at both the University of California, Irvine, where she is a Visiting Research Fellow from 2011-2013, and University College Dublin (2013¿2014).
In addition to the Marie Curie Fellowship of the European Commission, Nicole's research has been funded by the DAAD (German Academic Exchange Service), the IRCHSS (Irish Research Council for the Humanities and Social Sciences), and the Taylor Bequest of Trinity College Dublin. She has taught music history at University College Dublin, Trinity College Dublin, Queen's University Belfast, and the University of California, Irvine.
|Nicole Grimes; (2012) 'Wordless Judaism, Like the Songs of Mendelssohn? Hanslick, Mendelssohn, and Cultural Politics in Late Nineteenth-Century Vienna' In: Mendelssohn Perspectives. Aldershot, UK: Ashgate. [Details]|
|Nicole Grimes and Angela R. Mace (Ed.). (2012) Mendelssohn Perspectives. Aldershot, UK: Ashgate. [Details]|
Peer Reviewed Journals
|Nicole Grimes; (2011) 'Brahms's' Poetic Allusions through Hanslick's Critical Lens'. 29 (2):5-9. [Details]|
|Nicole Gimres; (2011) 'A Critical Inferno? Hoplit, Hanslick, and Liszt's Dante Symphony'. Journal of the Society for Musicology in Ireland, 7 (1):3-22. [Details]|
|Nicole Grimes; (2011) 'The Schoenberg/Brahms Critical Tradition Reconsidered'. Music Analysis, 33 (2-3). [Details]|
|Nicole Grimes and Dillon R. Parmer; (2009) 'Come Rise to Higher Spheres! Tradition Transcended in Brahms's Violin Sonata in G Major, Op. 78'. Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music, 7 (13):129-152. [Details]|
|Nicole Grimes; (2008) 'In Search of Absolute Inwardness and Spiritual Subjectivity? The Historical and Ideological Context of Schumann's Neue Bahnen'. International Review of the Aesthetics and Sociology of Music, 39 (2):139-163. [Details]|