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

(manuscript ready, currently negotiating with publishers).


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 commissioned or submitted

  1. “Old Contenders, New Pretenders: Anthems and the Future in Scotland”

planned special issue of Nations and Nationalism, under review.

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

in Simon McKerrell & Gary West (eds.), Understanding Scotland Musically, due 2016.

  1. “The Composer as Communication Theorist”

in Björn Heile and Charles Wilson (eds.), The Ashgate Research Companion to Modern Music, due 2016.


Articles and book chapters forthcoming

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

in the yearbook of the Staatliches Institut für Musikforschung (Berlin), due 2016.

  1. “‘Our Songless Army’: Song, Class and Conflict in Britain on the Eve of the Great War”

in the yearbook of the Centre for Music and Gender Reseach, Hannover, forthcoming 2017.

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

to appear in Scottish Music Review, forthcoming 2015.


Articles and book chapters published

  1. “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