Simon Morrison

Simon Morrison is a Professor in the Department of Music and Slavic Languages and Literatures at Princeton University. A cultural historian specializing in Russia, the Soviet Union, modernism, and ballet, he has authored acclaimed books such as Bolshoi Confidential and Mirror in the Sky: The Life and Music of Stevie Nicks. His research spans Russian opera, Soviet-era composers like Prokofiev and Shostakovich, and interdisciplinary explorations of music and dance. He has received prestigious awards including the Guggenheim Fellowship (2011) and the Howard T. Behrman Award (2022).

• PhD in Music History, Princeton University (1997)
• MFA in Music History, Princeton University (1994)
• MA in Music History, McGill University (1993)
• Language Diploma, Moscow Pedagogical Institute (1992)
• B. Mus. (cum laude), University of Toronto (1987)

Morrison’s research bridges musicology, cultural history, and ballet studies. He focuses on Soviet composers, Russian Symbolist opera, and the intersection of political ideology with artistic production. His work involves restoring lost ballets and analyzing musical responses to historical trauma, as seen in The People’s Artist: Prokofiev’s Soviet Years and Lina & Serge. Recent projects include a history of Moscow and a book on Shostakovich.

His scholarly articles explore topics like Prokofiev’s The Gambler (2024), Shostakovich’s Sixth Symphony (2019), and the Symbolist movement in Russian opera. He has served on editorial boards, organized conferences, and acted as Trustee of the Serge Prokofiev Foundation (2010–15). Morrison is also a prolific public speaker, with lectures at venues like the 92nd Street Y.

• Guggenheim Fellowship (2011)
• Hoover Institution Research Fellowship (2024)
• Phi Beta Kappa Teaching Award (2006)
• AMS 50 Doctoral Dissertation Fellowship (1996–97)

Morrison has advised numerous PhD students, including Hannah McLaughlin on Scriabin and Megan Sarno on John Adams’ operas. He has directed ballet productions like Prokofiev’s Romeo and Juliet (2008) and Satanella (2017), emphasizing historical authenticity and innovative staging. His interdisciplinary collaborations and critical editions further highlight his commitment to recovering marginalized narratives in musical history.