Research Outputs

Leedham, C. and Scheuregger, M. (In-press: 2022). Notes to self: How composers write about their music. In The Routledge Companion to Autoethnography and Self-Reflexivity in Music Studies, eds. Peter Gouzouasis and Christopher Wiley. New York: Routledge.
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Emerson, J., Leotsakos, G., & Scheuregger, M. (2022). Simaku, Thomas. Grove Music Online.
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Scheuregger, Martin and Efthymiou, L. (2021). Audience perception in experiential embodied music theatre: a practice-based case study. Act, Zeitschrift für Musik & Performance.
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Scheuregger, M. (2021). Temporal Experience in George Benjamin’s Sudden Time. In Time in Variance: The Study of Time XVII, eds. Arkadiusz Misztal, Paul A. Harris, and Jo Alyson Park.. Leiden: Brill.
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Scheuregger, M. (2021). Teaching Musical Analysis as an Aural Skill. In The Routledge Companion to Aural Training in Music Education, eds. Kent Cleland and Paul Fleet. New York: Routledge.
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Scheuregger, M. and Efthymiou, L. (2020). Composer-composer collaboration and the difficulty of intradisciplinarity. Airea: Arts and Interdisciplinary Research.
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Leedham, C and Scheuregger, M. (2020). The Purpose of the Written Element in Composition PhDs, in Researching and Writing on Contemporary Art and Artists: Challenge, Practices, and Complexities, ed. Christopher Wiley and Ian Pace. London: Palgrave Macmillan.
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Scheuregger, Martin (2019) Redefining idiomatic writing for the pedal harp. Contemporary Music Review, 38 (6). pp. 553-576. ISSN 0749-4467.
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Scheuregger, M. (2019). The Music of Thomas Simaku. Tempo, 73(290), 40-50.
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Scheuregger, M. (2016). Responding to the modernist fragment, Textual Practice, Vol. 30, No. 1, (3-10).
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Scheuregger, M. (2015). Conceptions of Time and Form in Twentieth and Twenty-First-Century Music (Doctoral dissertation, University of York).
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Scheuregger, M. (2014). ‘Fragment, Time and Memory: Unity in Kurtág’s Kafka Fragments’, Contemporary Music Review, (‘Musical Narratives: Studies in Time and Motion’), Vol. 33, No. 4, (408-427).
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