| Recipient |
Year |
Title of Paper, Article, or Dissertation |
| Nathan Platte |
2008-2009 |
Deceptive Melodies: Musical Fetishes and Motivic Manipulation in The Paradine Case (1947) [article] |
| Jesse Johnston |
2007-08 |
Folk Music' and Modernism: Janacek and Folkloric Performance [paper] |
| Joys Cheung |
2006-07 |
The 'Grand Chinese Evening' Concert (1933) and Chinese Essence in Semi-Colonial Shanghai [paper] |
| Sabina Pauta Pieslak |
2005-06 |
"Lenin in Swaddling Clothes:" A Critique of the Ideological Conflict between Socialist State Policy and Christian Music in Romania during the Cold War [article] |
| Christopher Scheer |
2004-05 |
For the Sake of the Union: The Nation in the Fourth Irish Rhapsody of Sir Charles Villiers Stanford |
| Stephanie Heriger |
2003-04 |
Surface and Subtext: Handel's Susanna and the Pastoral Tradition |
| Rebecca Schwartz-Bishir |
2002-03 |
Alexander Nevsky: Prokofiev's Successful Compromise with
Socialist Realism |
| Tamar Barzel |
2002-03 |
If Not Klezmer, Then What? Jewish Music and Modalities on New York City's Downtown Music Scene |
| Eric Saylor |
2000-01 |
The Nature of Spirit: Subtexts in Vaughan Williams's Pastoral Symphony |
| Amanda Eubanks |
1999-2000 |
"Speak Sister, Speak": Music, Politics, and Gender in
the Restoration Revivals of Macbeth |
| Mark Katz |
1998-99 |
Aesthetics out of Exigency: Violin Vibrato and the Phonograph |
| Jennifer DeLapp |
1997-98 |
Of Politics and Style: Copland's Quartet for Piano and Strings |
| Jeffrey J. Taylor |
1992-93 |
Earl Hines’s Piano Style in the 1920s: A Historical and Analytical Perspective |
