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SIMON MORRISON Department of Music and Slavic Languages and Literatures Princeton University Princeton, New Jersey 08544 (609) 258–4231 [email protected] ______________________________________________________________________________ EDUCATION Ph.D. in Music History, Princeton University, 1997. M.F.A. in Music History, Princeton University, 1994. M.A. in Music History, McGill University, 1993. Diploma, Moscow Pedagogical Institute, 1992. B. Mus. (cum laude) in Music History and Literature, University of Toronto, 1987. ACADEMIC APPOINTMENTS Princeton University, Department of Music, 1997–. Professor, 2008– Associate Professor, 2005–8 Assistant Professor, 1998–2005 Lecturer, 1997–98 Princeton University, Department of Slavic Languages and Literatures, 2017–. Professor University of Southern California, Department of Slavic Languages and Literatures, Spring 2019. Visiting Professor University of Pennsylvania, Department of Music, Spring 2011. Visiting Professor Harvard University, Department of Music, Spring 2010. Visiting Professor HONORS AND AWARDS National & International Guggenheim Fellowship, 2011. Morrison, 2 American Council of Learned Societies Fellowship, 2001–2. Institute of Advanced Studies, Mellon Fellowship, 2001–2 (declined). Alfred Einstein Award, American Musicological Society, 1999. AMS 50 Doctoral Dissertation Fellowship, American Musicological Society, 1996–97. University Award for Excellence in Alumni Education, 2012. Phi Beta Kappa Teaching Award, 2006. Howard Behrman Fellow in the Humanities, 2005–7. Arthur. H. Scribner Bicentennial Preceptorship, 2002–5. Charlotte Elizabeth Proctor Honorary Fellowship, 1995–96. Elsie and Walter W. Naumberg Fellowship, 1993–94 PUBLICATIONS Books 1. Shostakovich in progress, advance contract with Norton 2. Stevie Nicks in progress, advance contract with University of California Press 3. Tchaikovsky in progress, advance contract with Yale University Press 4. Avalon in progress, advance contract with Bloomsbury 5. Bolshoi Confidential. New York: Liveright; London: HarperCollins; Toronto: Random House, 2016; French edition: Paris: Editions Belfond; Japanese edition: Tokyo: Hakusui-sha; Portuguese edition: Rio de Janeiro: Editora Record LTDA, 2017; Russian edition: Moscow: Exmo. Reviews: Booklist Starred Review; Booklist Editors’ Choice 2016; Kirkus Starred Review; Lucy Ash in The Guardian, 31 October 2016; Bob Blaisdell in The Christian Science Monitor, 10 October 2016; Deborah Bull in The Spectator, 10/17/24 December 2016; Rupert Christiansen in Literary Review, October 2016; Lee Christofis in Australian Book Review, January- February 2017; Debra Craine in The Times of London, 22 October 2016; Sarah Crompton in The Guardian, 10 October 2016; Catriona Kelly in Times Literary Supplement, 20 January 2017; David Jays in The Times of London, 16 October 2016; Daria Khitrova in The New York Times, 13 November 2016; Madison Mainwaring, New Republic, 14 October 2016; Mark Monahan in The Telegraph, 13 November 2016; Douglas Smith in The Wall Street Journal, 15 October 2016. Finalist for the Pushkin House Prize. 6. The Love and Wars of Lina Prokofiev. London: Random House, 2013; Boston: Houghton Mifflin Harcourt, 2013; paper, 2014. Morrison, 3 Reviews: BBC Radio 4 Book of the Week; The Daily Beast [“Hot Reads”], 18 March 2013; Kirkus Starred Review; The New Yorker [“Briefly Noted”], 6 May 2013, 75; Publishers Weekly’s Top 10: Music; John Carey in The Sunday Times, 10 March 2013; Orlando Figes in The New York Review of Books, 6 March 2014; Amanda Foreman in The New Statesman, 21 March 2013; Paul Griffiths in Times Literary Supplement, 29 November 2013; Stuart Kelly in The Scotsman, 16 March 2013; Norman Lebrecht in The Wall Street Journal, 15 March 2013; Alexandra Popoff in The Boston Globe, 23 March 2013; Lettie Ransley in The Observer, 11 May 2013; Stephen Walsh in The Guardian, 29 March 2013. 7. The People’s Artist: Prokofiev’s Soviet Years. New York: Oxford University Press, 2009; paper, 2010. Reviews: Bradley Bambarger in Listen [“Back in the USSR”], May/June 2009, 75; Diego Fischerman in El Pais [“El hombre que regresó al frío”], 10 July 2009; Pauline Fairclough in Music & Letters 90, no. 4 (2009): 719–22; Sheila Fitzpatrick in London Review of Books [“Many Promises”], 14 May 2009; David Gutman in Gramophone, February 2009, 103; Michael Kimmelman in The New York Review of Books [“Bad Bargains for Russian Music”], 13 August 2009; Arlo McKinnon in Opera News 76, no. 6 (2011); Neil Minturn in Slavic Review 69, no. 1 (2010): 239; Stephen Press in Russian Review 71, no. 1 (2012): 132–33; R. J. Stove in National Observer, Autumn 2009; Andrew Thomson in The Musical Times, Summer 2009, 110–14; Elizabeth Wilson in bookforum [“A Composer’s Notes”], June/July/Aug 2009. 8. Russian Opera and the Symbolist Movement. Oakland: The University of California Press, 2002; second, revised edition, 2019. Reviews: Philip Borg-Wheeler in Classical Music, 24 May 2003, 25; Philip Ross Bullock in Slavic Review 64, no. 2 (2005): 476–77; Ellon Carpenter in The Russian Review 62, no. 3 (2003): 457–58; Pauline Fairclough in Slavonica 9, no. 2 (2003): 137–38; Marina Frolova-Walker in Journal of the American Musicological Society 59, no. 2 (2006): 507–13; Helen Galbraith in The Modern Language Review 99, no. 3 (2004): 849–51; Anatole Leikin in Journal of Musicological Research 22, no. 4 (2003): 409-13; Gerard McBurney in Times Literary Supplement [“At the Sign of the Queen of Spades”], 27 June 2003, 24; Anna Nisnevich in Cambridge Opera Journal [“Keys to the Mysteries”] 15, no. 2 (2003): 199–206; Karin Pendle in Choice, 40, no. 8 (2003); Elizabeth Yellen in Slavic and East European Journal 48, no. 1 (2004): 142–43. Editions Morrison, 4 1. [with Klára Móricz] Funeral Games in Honor of Arthur Vincent Lourié. New York: Oxford University Press, 2014. 2. Sergey Prokofiev and His World. Princeton: Princeton University Press, 2008; includes my translation of 98 letters between Prokofiev and Levon Atovmyan. 3. [with Caryl Emerson] Boris Godunov. Special issue of Three Oranges: The Journal of the Serge Prokofiev Association 14 (2007). 4. [with Stephanie Jordan] Sound Moves. Select essays from the international conference on music and dance, Opera Quarterly 22, no. 1 (2006). The conference was held from 5–6 November 2005, at the Center for Dance Research, Roehampton University of Surrey, London, UK. 5. Kiselev, Vadim. A Bouquet for Tamara Karsavina [Buket dlya Tamary Karsavinoi]. Moscow: Kompozitor, 1998. Articles and Essays 1. “Burning for You: Rachmaninoff’s Francesca da Rimini” (forthcoming). 2. “About that Chord, and About Scriabin as a Mystic” (forthcoming). 3. “V poiskakh Satanillï, chast’ II” (forthcoming). 4. “What Next? Shostakovich’s Sixth Symphony as Sequel and Prequel,” Twentieth-Century Music 16, no. 2 (June 2019): 1-27. 5. “Galina Ustvol’skaya v istorii muzïki, vne yeyo i za yeyo predelami.” In NestandArt: Zabïtïye eksperimentï v russkoy kul’ture, 1934-64 гг., edited by Julia Vaingurt and William Nickell (forthcoming). 6. “Galina Ustvolskaya Outside, Inside, and Beyond Music History,” Journal of Musicology 36, no. 1 (2019): 96-129. 7. “The Golden Cockerel, Censored and Uncensored.” In Rimsky-Korsakov and His World, edited by Marina Frolova-Walker (Princeton: Princeton University Press, 2018), 177-95. 8. “Prokofiev: Reflections on an Anniversary, and a Plea for a New Critical Edition,” Iskusstvo muzïki. Teoriya i istoriya 16 (2017): 6-20. 9. “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. 10. “‘Zolotoy Petushok’: zametki ob opere, kotoraya stala operoy-baletom i zatem baletom.” In Triumf russkoy muzïki. Rimskiy-Korsakov – okno v mir, ed. L. O. Ader (St. Petersburg: SPb GBUK, 2016), 67-76. 11. “Debussy’s Toy Stories.” Journal of Musicology 30, no. 3 (2013): 424–59. 12. “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. 13. [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. 14. “Russia’s Lament.” In Word, Music, History: A Festschrift for Caryl Emerson [Stanford Slavic Studies Volumes 29–30], edited by Lazar Fleishman, Gabriella Safran, and Michael Wachtel (2005): 657–81. Morrison, 5 15. “Shostakovich as Industrial Saboteur: Observations on The Bolt.” In Shostakovich and His World, edited by Laurel Fay. 117–61, Princeton: Princeton University Press, 2004. 16. “The Origins of Daphnis et Chloé (1912).” 19th-Century Music 28, no. 1 (2004): 50–76. 17. [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 (London: Routledge, 2004), 81–104. 18. “The Semiotics of Symmetry, or Rimsky-Korsakov’s Operatic History Lesson.” Cambridge Opera Journal 13, no. 3 (2001): 261–93. 19. “‘Ognennyi angel’: tret’ya versiya.” Muzykal’naya akademiya 2 (2000): 221–28. 20. “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. 21. “Sergei Prokofiev’s Semyon Kotko as a Representative Example of Socialist Realism.” In Musik als Text: Bericht über den Internationalen