More Writings by Simon Morrison

Click on the links below to view more articles, reviews, and opinion pieces by Simon Morrison.

“Prokofiev’s Gambler,” in Dostoevsky’s The Gambler: The Allure of the Wheel, ed. Svetlana Evdokimova (Lanham: Lexington Books, 2024), 257-76.
“On the Bolshoi, and on Kirill Serebrennikov’s ‘Nureyev.’” In The Routledge Companion to Choreomusicology, ed. Samuel N. Dorf and Helen Julia Minors (Abingdon: Routledge, 2025), 217-28.
“Glière’s Light Style.” In The Oxford Handbook of Music and the Middlebrow, ed. Christopher Chowrimootoo and Kate Guthrie (online edition, Oxford Academic, 19 December 2022), https://academic.oup.com/edited-volume/45224/chapter/426215746.
“Still in Search of Satanilla.”19th-Century Music 46, no. 1 (2022): 3-38.
“Burning for You: Rachmaninoff’s Francesca da Rimini.” In Rachmaninoff and His World, ed. Philip Bullock (Chicago: University of Chicago Press, 2022), 161-79.
“About that Chord, and About Scriabin as a Mystic.” In Demystifying Scriabin, ed. Vasillis Kallis and Kenneth Smith (Woodbridge: Boydell & Brewer, 2021), 11-25.
“What Next? Shostakovich’s Sixth Symphony as Sequel and Prequel.” Twentieth-Century Music 16, no. 2 (June 2019): 1-27.
“Galina Ustvolskaya Outside, Inside, and Beyond Music History,” Journal of Musicology 36, no. 1 (2019): 96-129.
“The Golden Cockerel, Censored and Uncensored.” In Rimsky-Korsakov and His World, edited by Marina Frolova-Walker (Princeton: Princeton University Press, 2018), 177-95.
“Prokofiev: Reflections on an Anniversary, and a Plea for a New Critical Edition,” Iskusstvo muzïki. Teoriya i istoriya 16 (2017): 6-20.
“Landed: Cole Porter’s Ballet.” In A Cole Porter Companion, edited by Don M. Randel, Matthew Shaftel, and Susan Forscher Weiss (Urbana: University of Illinois Press, 2016), 57-69.
“Debussy’s Toy Stories.” Journal of Musicology 30, no. 3 (2013): 424–59.
“Koussevitzky’s Ghostwriter” and “Epilogue: The Silver Age and Tinseltown.” In Funeral Games in Honor of Arthur Vincent Lourié, edited by Klára Móricz and Simon Morrison. New York: Oxford University Press, 2014.
[with Nelly Kravetz] “The Cantata for the Twentieth Anniversary of October, or How the Specter of Communism Haunted Prokofiev.” Journal of Musicology 23, no. 2 (2006): 227–62.
“Shostakovich as Industrial Saboteur: Observations on The Bolt.” In Shostakovich and His World, edited by Laurel Fay. 117–61, Princeton: Princeton University Press, 2004.
“The Origins of Daphnis et Chloé (1912).” 19th-Century Music 28, no. 1 (2004): 50–76.
[with Lesley-Anne Sayers] “Prokofiev’s Le Pas d’Acier (1925): How the Steel was Tempered.” In Soviet Music and Society under Lenin and Stalin: The Baton and Sickle, edited by Neil Edmunds (Abingdon: Routledge, 2004), 81–104.
“The Semiotics of Symmetry, or Rimsky-Korsakov’s Operatic History Lesson.” Cambridge Opera Journal 13, no. 3 (2001): 261–93.
“Skryabin and the Impossible.” Journal of the American Musicological Society 51, no. 2 (1998): 283–330; reprint, Journal of the Scriabin Society of America 7, no. 1 (2002–3): 29–66.
“Sergei Prokofiev’s Semyon Kotko as a Representative Example of Socialist Realism.” In Musik als Text: Bericht über den Internationalen Musikwissenschaftlichen Kongreß der Gesellschaft für Musikforschung, edited by Hermann Danuser and Tobias Plebuch, vol. 2, 494–97. Kassel: Bärenreiter, 1998.