Main publications


Monographs

  1. • Serial Music, Serial Aesthetics: Compositional Theory in Post-war Europe (Cambridge: Cambridge University Press, 2001; paperback edition 2005).

  2. • Auld Lang Syne: A Song and its Culture (Cambridge: Open Book Publishers, forthcoming 2021)


Edited volumes

  1. • Torture: Journal of Torture Rehabilitation and Prevention of Torture 23/2 (2013), thematic issue Music in Detention

Anna Papaeti & M. J. Grant (guest eds.).

  1. • the world of music (new series) 2/1 (June 2013), thematic issue Music and Torture | Music and Punishment

M. J. Grant & Anna Papaeti (guest eds.)

  1. • The Soundtrack of Conflict: The Role of Music in Radio Broadcasting in Wartime and in Conflict Situations

M. J. Grant & Férdia J. Stone-Davis (eds.), (Hildesheim: Olms, 2013).

  1. • The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward

M. J. Grant & Imke Misch (eds.) (Hofheim am Taunus: Wolke, 2016).


Articles and book chapters forthcoming

  1. • “Chaos and Order: Issues in the Historiography of Martial Music”

in Reinhard Strohm (ed.), Transcultural Music History (VWB-Verlag, forhcoming 2020).

  1. • (with Anna Papaeti), “Musicological Research with Refugees: Theoretical and Ethical Considerations”

in Wolfgang Gratzer, Nils Grosch, Ulrike Präger & Susanne Scheiblhofer (eds.), Musik und Migration: Eine Theorie- und Methodenhanbuch (forthcoming 2020).

  1. • Keyword “Musik”

in Wolfgang Gratzer, Nils Grosch, Ulrike Präger & Susanne Scheiblhofer (eds.), Musik und Migration: Eine Theorie- und Methodenhanbuch” (forthcoming 2020).

  1. • Keyword “Menschenrechte [Human Rights]”

in Wolfgang Gratzer, Nils Grosch, Ulrike Präger & Susanne Scheiblhofer (eds.), Musik und Migration: Eine Theorie- und Methodenhanbuch” (forthcoming 2020).

  1. • (with Anna Papaeti) Keyword “Forschungsethik [Research Ethics]”

in Wolfgang Gratzer, Nils Grosch, Ulrike Präger & Susanne Scheiblhofer (eds.), Musik und Migration: Eine Theorie- und Methodenhanbuch” (forthcoming 2020).


Articles and book chapters published

  1. • “On Music and War”

in Transposition: Musique et sciences sociales 2/2020, themed issue Sound, Music and Violence. https://journals.openedition.org/transposition/4469

  1. • “Understanding Perpetrators’ Use of Music”

in Susanne Knittel & Zachary Goldberg (eds.), The Routledge International Handbook of Perpetrator Studies (Routledge, 2019).

  1. • “‘Annie Laurie’: A Scots Song in the Trenches?”

Scottish Music Review 5 (2019), 52-74. Available online at http://scottishmusicreview.org/Articles/5/Grant%3A%20'Annie%20Laurie'%3A%20A%20Scots%20Song%20in%20the%20Trenches%3F.pdf

  1. • “Relics of British Military Music from the Great War”

in Simone Hohmaier (ed.), Jahrbuch 2016 des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz (Mainz etc.: Schott, 2019), 139-151.

  1. •  “The Composer as Communication Theorist”

in Björn Heile and Charles Wilson (eds.), The Routledge Research Companion to Modern Music (Routledge, 2019).

  1. • “Folter”

in Daniel Morat & Hansjakob Ziemer (eds.), Handbuch Sound: Geschichte–Begriffe–Ansätze (Springer, 2018).

  1. • “Distant Voices, Scottish Lives: On Song and Migration”

in Simon McKerrell & Gary West (eds.), Understanding Scotland Musically: Folk, Tradition and Policy (Routledge, 2018).

  1. • “‘Our Songless Army’: Song, Class and Conflict in Britain on the Eve of the Great War”, in Susanne Rode-Breymann (ed.), 1914: Krieg. Mann. Musik. (Jahrbuch Musik und Gender 9) (Hildesheim: Olms, 2017), pp. 107-126.

  2. • “Wellen schlagen: Runkfunk, Musik, Gewalt”

Musikforum 4/2016, pp. 12-14.

  1. • “Musical Communication, ‘Hate Speech’ and Human Rights Law”

in Werner Gephart (ed.), Law and the Arts (Frankfurt am Main: Klostermann), pp. 217-250. Preprint available at academia.edu.

  1. • “An Angel of Modernity: Karlheinz Stockhausen’s Musical Vision”

in Ruth Finnegan (ed.), Entrancement: Integrating Dreams, Music, and Consciousness (Cardiff: University of Wales Press).

  1. • “Music during Battle: Representation and Reality. The Case of the Great Highland Bagpipe in the Nineteenth Century”

in Étienne Jardin (ed.), Music and War from the French Revolution to WWI (Turnhout: Brepols), pp. 29-44.

  1. • “Unfinished: On Music and Torture”, Van: A Online Classical Music Magazine, 26 May 2016,   https://van-us.atavist.com/unfinished

  2. • “Bagpipes at the Front: Pipers and Piping during Combat in the First World War”

in Michael Schramm (ed.), Militärmusik und Erster Weltkrieg (Militärmusik im Diskurs vol. 10), pp. 35-67. Preprint available via academia.edu

  1. • “Bridge Over Troubled Water: On Music and War”

in klangTunnel Magazin (2015), published in conjunction with the klangTunnel festival in Erpel, pp. 28-31.

  1. • (with Anna Papaeti & Stephanie Leder) “Die zersungene Seele: Musik als Instrument der Folter”

in Gunter Kreutz & Günther Bernatzky (eds.), Musik und Medizin: Chancen für Therapie, Prävention und Bildung (Berlin: Springer, 2015), pp. 419-435.

  1. • (with Mareike Jacobs, Rebecca Möllemann, Simone Christine Münz & Cornelia Nuxoll), “Music, the ‘Third Reich’, and the ‘8 Stages of Genocide’”

in Wojciech Klimczyk & Agata Świerzowska (eds.), Music and Genocide (Frankfurt am Main etc: Peter Lang, 2015).

  1. • “‘That’s What It’s All About’? Football Songs, Religious Hatred and the Strange Case of the ‘Hokey Cokey’”

available via academia.edu or by clicking Football Songs_Religious Hatred_Hokey Cokey.pdf

  1. • “Music and human rights”

in Mark Gibney & Anja Mihr (eds.), The Sage Handbook of Human Rights (Sage Publications, 2014).

  1. • “Pathways to music torture”

in Transpositions: Musique et sciences sociales 4 (2914), special issue Music and armed conflict since 1945. Available online at http://transposition.revues.org/494

  1. • “The illogical logic of music torture”

in Torture: Journal of Torture Rehabilitation and Prevention of Torture 23/2 (2013), thematic issue Music in Detention, 4-13. Available online at http://irct.org/publications/torture-journal/117

  1. • (with Anna Papaeti), “Editorial”

in Torture: Journal of Torture Rehabilitation and Prevention, 23/2 (2013), thematic issue Music in Detention, 1-3.

  1. • “Situating the music of the Great War: historical and analytical perspectives”.

in Stefan Hanheide, Dietrich Helms, Claudia Glunz & Thomas Schneider (eds.), Musik bezieht Stellung. Funktionalisierungen der Musik im Ersten Weltkrieg (Göttingen: V&R unipress, 2013), 13-30.

  1. • “Rein, schön, fürchtbar: Musik als Folter”

in  Gerhard Paul & Ralph Schock (eds.), Der Sound des Jahrhunderts: Ein akustisches Porträt des 20. und beginnenden 21. Jahrhunderts (Bonn: Bundeszentrale für Politische Bildung, 2013), 576-581.

  1. • “Music and punishment in the British Army in the eighteenth and nineteenth centuries”.

in M. J. Grant & Anna Papaeti (guest eds.), the world of music (new series) 2/1 (June 2013), thematic issue Music and Torture | Music and Punishment, 9-30.

  1. • (with Anna Papaeti), “Introduction”.

in M. J. Grant & Anna Papaeti (guest eds.), the world of music (new series) 2/1 (June 2013), thematic issue Music and Torture | Music and Punishment, 5-7.

  1. • “Sung Communities”

in Katrin Bicher, Jin-Ah Kim & Jutta Toelle (eds.), Musiken: Festschrift für Christian Kaden (Berlin: Ries & Erler, 2011), 81-93.

  1. • “Series and place”

in Contemporary Music Review 30/6: Wandelweiser (2011), 525-542.

  1. • “Whatever happened to Crazy Jane?”

in Leon Stefanija & Nico Schüler (eds.), Approaches to Music Research: Between Practice and Epistemology (Frankfurt et. al.: Peter Lang, 2011), 153-168.

  1. • “Die Kindersoldaten von gestern: Vorbemerkungen zu einer Geschichte von Kindern als Militärmusiker im 18. und 19. Jahrhundert”.

in Michael Schramm (ed.), Militärmusik zwischen Nutzen und Missbrauch (Bonn: Militärmusikdienst der Bundeswehr, 2011), 174-187.

  1. • “Auf den Spuren der Trommlerjungen”.

in Georgia Augusta: Wissenschaftsmagazin der Georg-August-Universität Göttingen 7 (2010), 62-69.

  1. • (with Rebecca Möllemann, Ingvill Morlandstö, Simone Münz & Cornelia Nuxoll), “Music and conflict: Interdisciplinary perspectives”.

in Interdisciplinary Science Review, special issue Music and the Sciences, 35/1 (June 2010), 183-198.

  1. • “Musik im Dienst des Massenmords”.

in Marianne Bröcker (ed.), Musik und Gewalt (Berichte aus dem Nationalkomitee Deutschland im International Council for Traditional Music XIX) (Münster: Verlagshaus Monsenstein und Vannerdat, 2010), 259-268.

  1. • “Invented tradition or old acquaintance? Scottishness and Britishness in the 19th century reception of Auld Lang Syne”.

in Beat A. Föllmi, Nils Grosch & Mathias Schneider (eds.), Music and the Construction of National Identity in the Nineteenth Century (Baden-Baden/Bouxwiller: Editions Valentin Koerner, 2010), 81-89.

  1. • “Freund oder Feind? Thesen zu Musik und Konflikt”.

in Michael Schramm (ed.), Musik in Fremdwahrnehmung und Eigenbild (Bonn: Militärmusikdienst der Bundeswehr, 2009), 78-85.

  1. • “Myth and reality in the songs of Robert Burns”.

in Kenneth Elliott et. al. (eds.), Musica Scotica: 800 Years of Music in Scotland (Glasgow: Musica Scotica, 2008), 29-35.

  1. • “Auld Lang Syne: Notes from a journey”.

in CHOMBEC News 4 (Winter 2007), 7-8.

  1. • Articles “Polyphonie” and “musikalisch”.

in Achim Trebess (ed.), Metzler Lexikon Ästhetik (Stuttgart: Metzler Verlag, 2006), 271-272; 297-298.

  1. • (with Sophie Bertone and Wolfgang Fuhrmann), “Was ist neu an New Musicology?”

in Rebekka von Mallinckrodt & Rebekka Habermas (eds.), Interkultureller Transfer und nationale Auslegung: Europäische und anglo-amerikanische Positionen der Kulturwissenschaften (Göttingen: Wallstein, 2004), 107-122.

  1. • “Experimentelle Musik analysieren”

in Ludwig Holtmeier, Michael Polth & Felix Diergarten (eds.), Musiktheorie zwischen Historie und Systematik (Augsburg: Wissner, 2004), 318-325.

  1. • “Experimental Music Semiotics”.

in International Review of the Aesthetics and Sociology of Music 34/2 (2003), 173-191.

  1. • Article “Ladislav Kupkovic”.

in  Stanley Sadie (ed.), New Grove Dictionary of Music and Musicians, 2nd edition, vol. 14 (London: Macmillan, 2001).

  1. • “Vergangenheit, Gegenwart und Zukunft vereint: Zum Projekt 3 Jahre - 156 musikalische Ereignisse - 1 Skulptur in Berlin”.

in Neue Musikzeitung 2/2000, 32.

  1. • “Dynamik des Beständigen”

in Positionen 41 (November 1999), 39-41.

  1. • “Rihm’s musique informelle”

in British Postgraduate Musicology 1 (October 1997), 20-28.


Review essay

  1. • “Und ab die Postmoderne”. Review of Andrew Dell’Antonio (Hg.), Beyond Structural Listening? Postmodern Modes of Hearing.

in Zeitschrift der Gesellschaft für Musiktheorie 5/1 (2008), 167-180.


Programme notes and edition commentaries

  1. • “John Cage @ Maverick: Cheap Imitation”, programme book for the international congress Music | Musics: Structures and Processes (Hildesheim: Olms, 2012), 89-91.

  2. • “Mantra”. Programme book for the festival KLANG. A Tribute to Karlheinz Stockhausen, Southbank Centre, London, 1-9 November 2008, 14-15.

  3. • “Freude” and “Cosmic Pulses”. Programme book for the festival KLANG. A Tribute to Karlheinz Stockhausen, Southbank Centre, London, 1-9 November 2008, 18-19.

  4. • “Stimmung”. Programme book for the festival KLANG. A Tribute to Karlheinz Stockhausen, Southbank Centre, London, 1-9 November 2008, 22-23.

  5. • Commentary to the edition Kreidestaub / Luftklang by Mauser (sculptor) and Jürg Frey (composer), produced by complice, 2004. www.e-complice.de