T.O. Delpeut (Thomas) MA
Teacher - Department of History, Art History and Classics
6500 HD NIJMEGEN
Thomas Delpeut (1988) is teacher in Cultural History at the Radboud University. He is specialised in music cultures since 1800 from a societal perspective.
In 2014 Thomas graduated in History (Research Master, cum laude) at the University of Amsterdam and worked there on a Digital Humanities project as a pre-PhD fellow in 2015. In the BMGN-Low Countries Historical Review he published an evaluation of current Dutch and international research on nineteenth-century music and concert history. Currently he is finishing his PhD research, which focusses on Dutch 19th-century concert culture – including topics such as concert programming, music journalism, social composition of audiences and listening experiences.
In addition to his work as lecturer and researcher, Thomas is also a board member of both the Royal Society for Music History of the Netherlands (Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis) and the Nijmegen Foundation for Chamber Music (Nijmeegse Stichting voor Kamermuziek).
- ‘De bonte tuinen der muziek. Ontmoetingen in de tuin van het Amsterdamse Concertgebouw rond 1900’, in: De Pater, Sintobin en Vandevoorde (ed.), ‘Allen zijn welkom’. Ontmoetingsplaatsen in de Lage Landen rond 1900 (Hilversum 2017) 57-74.
- ‘Een te herziene eeuw Nederlandse muziek. Onderzoeksperspectieven voor de negentiende-eeuwse muziek- en concertgeschiedenis’, BMGN - Low Countries Historical Review 129/4 (2014) 4-31. [free download]--> Full text
- 2016 - 2021 Project title: 'Learning to listen. Concert culture in nineteenth-century Dutch musical cities' --- Why did people start listening to concert music in a fundamentally different way in the nineteenth century? This PhD-project analyses the changing concert cultures in the four most important Dutch musical centres – Amsterdam, The Hague, Utrecht and Rotterdam. The substantial variety of programming structures, performance practices and audience experiences in these cities was the result of local interactions between concert organisers, performers, critics and audiences, combined with a intense national and international exchange of music, musicians, audiences and cultural norms. Using qualitative and quantitative research methods, including digital tools, and a wide range of primary sources, the comparative study of these cities attempts to explain why and how the listening culture changed into its current form and, ultimately, what music means to a changing society. More information
(01 January 2019)
Royal Society for Music History of the Netherlands
(01 January 2018)
Nijmegen Foundation for Chamber Music
Teaching: lectures, seminars and undergraduate thesis supervision concerning music and cultural history in the nineteenth and twentieth century (several courses at the history department of the Radboud University and musicology department of Utrecht University).