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Departmental Awards

The Louise E. Cuyler Prize in Musicology was endowed in 1987 by the late emerita professor and founding member of the department to honor outstanding achievement by graduate students in musicology. In 2014, the Cuyler prize competition expanded from a single annual prize to two distinct prizes given each academic year.

The Louise E. Cuyler Prize in Musicology for Best Paper or Presentation, which includes a cash award, recognizes outstanding achievement by a graduate student as demonstrated by an article in a scholarly journal or a presentation at an AMS, SEM, SAM, or comparable meeting. Previous winners of the Cuyler Prize for Best Paper or Presentation are not eligible to apply. Applicants for this award may not apply for the Cuyler Prize for Best Dissertation Chapter in the same year. The deadline for submissions is February 1.

The Louise E. Cuyler Prize in Musicology for Best Dissertation Chapter, which includes a cash award, recognizes outstanding achievement by a graduate student as demonstrated by a dissertation chapter. Ph.D. candidates who are currently enrolled (during the Winter term when the prize is adjudicated) are eligible to apply. Former graduates of the program and previous winners of the Cuyler Prize for Best Dissertation Chapter are not eligible to apply. Applicants should submit a single chapter (a finished chapter or polished draft) from their dissertation. Applicants for this award may not apply for the Cuyler Prize for Best Paper or Presentation in the same year. The deadline for submissions is February 1.

Past Recipients
Prize for paper, presentation, or article
’18-’19 Ann Heminger “Music Theory at Work: The Eton Choirbook, Rhythmic Proportions and Musical Networks in Sixteenth-Century England.”
’18-’19 Lena Leson “’I’m On My Way to a Heav’nly Lan’: Porgy and Bess as American Religious Export to the USSR”
’16-’17: James McNally, “Azealia Banks’s ‘212’: Black Female Identity and the White Gaze in Contemporary Hip-Hop”
’15-’16: Meredith Juergens, “‘Double Masked’ Minstrelsy in the Metropolitan Opera’s 1929 Production of Ernst Krenek’s Jonny spielt auf
’14-’15: Ho-Chak Law, “King Hu’s Cinema Opera in his Early Wuxia Films”

Prize for dissertation chapter
’18-’19 Austin Stewart “The Opera is Booming. This is a City: Opera in the Urban Frontier of Denver, 1864-1893”
’17-’18: James McNally, “‘Caostrópolis’: Material Engagements with the Urban Soundscape”
’16-’17: Katherine Cox, “‘Feelings of an Almost Human Nature’: Pink Floyd and Traumatic Narrative”
’15-’16: Ryan Bodiford, “‘Mi música no es un negocio (My music is not a business)’: New Media Transformations and the Arrival of the Netlabel as an Alternative Model of Music Diffusion”; Megan Hill, “Soundscape Montage: A New Model”; Leah Weinberg, “Playing American: European Patronage, Cultural Diplomacy, and the 1976 Tour”
’14-’15: Elizabeth Batiuk, “Dancing Solo as Heroic Self-making: Isnavi Cardoso Díaz and Choreographic Transvestisim in la Columbia”; Jessica Getman, “A Series on the Edge: The Social Tension in Star Trek’s Title Cue”

Combined prize
’13-’14: Andrew Kohler, “Protest through Allegory: Carl Orff ’s Repudiation of Friedrich Hebbel in Die Bernauerin”; Elizabeth McLain, “Dreams of the Soul: Olivier Messiaen’s Nonconformist Catholic Surrealism in Chants de terre et de ciel (1939)”; Melanie Batoff, “The Visitatio sepulchri at the twelfth-century Saltzburg Cathedral: The Role of Musical Performance in Strengthening Community”
’12-’13: Daniel Blim, “Trauma, Absence, and Identity in John Adams’s On the Transmigration of Souls“; Sarah Suhadolnik, “Channel Surfing to the Top of the Charts: The ‘Extended’ Television Experience of Grey’s Anatomy”
’11-’12: Abby Anderton, “The Stars and Stripes of the Berlin Philharmonic: Classical Music and the American Cultural Agenda in West Berlin, 1945–47”
’09-’10: Alison DeSimone, “Medee et son pouvoir: Music and Dramatic Structure in Marc-Antoine Charpentier’s Medee (1693)”; Michael Mauskapf, “Bartók’s Concerto for Orchestra and the Rise of Collective Virtuosity”
’08-’09: Nathan Platte, “Deceptive Melodies: Musical Fetishes and Motivic Manipulation in The Paradine Case (1947)”
’07-’08: Jesse Johnston, “Folk Music and Modernism: Janacek and Folkloric Performance”
’06-’07: Joys Cheung, “The ‘Grand Chinese Evening’ Concert (1933) and Chinese Essence in Semi-Colonial Shanghai”
’05-’06: Sabina Pauta Pieslak, “‘Lenin in Swaddling Clothes:’ A Critique of the Ideological Conflict between Socialist State Policy and Christian Music in Romania during the Cold War”
’04-’05: Christopher Scheer, “For the Sake of the Union: The Nation in the Fourth Irish Rhapsody of Sir Charles Villiers Stanford”
’03-’04: Stephanie Heriger, “Surface and Subtext: Handel’s Susanna and the Pastoral Tradition”
’02-’03: Rebecca Schwartz-Bishir, “Alexander Nevsky: Prokofiev’s Successful Compromise with Socialist Realism”; Tamar Barzel, “If Not Klezmer, Then What? Jewish Music and Modalities on New York City’s Downtown Music Scene”
’01-’02: Julia Bÿl
’00-’01: Eric Saylor, “The Nature of Spirit: Subtexts in Vaughan Williams’s Pastoral Symphony”
’99-’00: Amanda Eubanks, “‘Speak Sister, Speak’: Music, Politics, and Gender in
the Restoration Revivals of Macbeth”
’98-’99: Mark Katz, “Aesthetics out of Exigency: Violin Vibrato and the Phonograph”
’97-’98: Jennifer DeLapp, “Of Politics and Style: Copland’s Quartet for Piano and Strings”
’96-’97: Paul Munson
’95-’96: Mark Benamou
’94-’95: Robynn Stilwell
’93-’94: Roark T. Miller
’92-’93: Jeffrey J. Taylor, “Earl Hines’s Piano Style in the 1920s: A Historical and Analytical Perspective”
’91-’92: James M. Manheim
’90-’91: Timothy D. Taylor
’88-’89: Susan Pratt Walton

The Louise Cuyler Award Travel Fund, supported by the annual revenues from the Louise Cuyler Endowment, seeks to assist with some expenses graduate students incur when they deliver papers at academic conferences sponsored by scholarly societies.  Endowment support is only available in support of reading a formal conference paper; it is not available to support service on panels, committees, workshops, and other such functions.

Top funding priority will be assigned to papers presented at either international or national conferences.  The definition of “national” is interpreted broadly, and certainly includes the annual meetings of the American Musicological Society, the Society for Ethnomusicology, and the Society for American Music.  Applications for travel funding to present papers at regional conferences (such as a chapter meeting of a national society) are also encouraged.  Please address questions concerning other conferences to the department chair, who will bring them to the department for consideration prior to application.

Along with an application form, please submit to the department chair the abstract submitted to the conference; a copy of the letter or email accepting the paper; and a proposed budget, estimating as precisely as possible the costs of conference registration, travel, and lodging. The Award does not cover meals. The faculty will review application materials on a revolving basis throughout the academic year. Preference will be given to applicants who also document requests for matching funds from other University sources. Please apply for funds after acceptance of the abstract but before the trip; please retain all receipts, which must be submitted within 3 weeks of travel (even in the summer).

Download application form (PDF)

The Glenn McGeoch Memorial Scholarship in Musicology was endowed in 1989 by his family, former colleagues, and students to provide scholarship assistance to graduate students in Musicology. In 2014, the McGeoch endowment expanded from a single annual scholarship to two distinct scholarships given each academic year. One scholarship is given annually to an outstanding graduate student instructor of SMTD music majors; the other scholarship is given annually to an outstanding graduate student instructor of non-majors. No applications are required. Previous recipients of a McGeogh scholarship are not eligible to receive the award a second time. The faculty will choose the scholarship recipients at the end of each school year.

Past Recipients
’18-’19: Richard Smith (majors); Casper Chan (non-majors)
’17-’18: Lena Leson (majors); Anne Heminger (non-majors)
’16-’17: Lisa Decenteceo (majors); Conner Vanderbeek (non-majors)
’15-’16: Megan Hill (majors); Austin Stewart (non-majors)
’14-’15: Mishona Collier (majors); Kristen Clough (non-majors)
’13-’14: Jessica Grimmer
’12-’13: Sarah Suhadolnik
’11-’12: Meredith Juergens
’10-’11: J. Ryan Bodiford
’09-’10: Michael Mauskapf
’08-’09: Kathryn Cox
’07-’08: Rebecca Fulop
’06-’07: Vera Flaig
’05-’06: Laura Kennedy
’04-’05: Colin Roust
’03-’04: Rebecca Schwartz-Bishir
’02-’03: Timothy Freeze; Sabina Pauta; Michal Rahfaldt
’01-’02: Adele Smaill; Julia Bÿl
’00-’01: Rebecca Schwartz-Bishir
’98-’99: Tamar Barzel
’97-’98: Suzanne Camino
’96-’97: Rose Pruiksma
’95-’96: Denise Pilmer Taylor
’94-’95: Tracey Laird
’93-’94: Christine Cochrane
’92-’93: Tara Browner
’91-’92: Robynn J. Stilwell
’90-’91; Julie Sommer Frascarelli
’89-’90: Kathryn Reed-Maxfield

The Hans T. David Memorial Scholarship, instituted in 2014, recognizes exceptional achievement by a precandidate graduate student in the Department of Musicology. The funds associated with the scholarship are used to help pay for the cost of a student’s tuition rather than to supplement a student’s funding package. No applications are required. The faculty will choose the scholarship winner at the end of each academic year.

Past Recipients
’18-’19: Kai West
’17-’18: Casper Chan
’16-’17: Alyssa Wells
’15-’16: Nathinee Chucherdwatanasak
’14-’15: Jessica Grimmer
’13-’14: Austin Stewart