International scholars who have had papers or posters accepted for the annual meeting may compete for this conference paper award. “International Scholars” are defined as presenters who hold an institutional affiliation and/or principal residence outside the United States. A presenter wishing to be considered for the award must submit his or her paper (or, for a poster, the equivalent of a 20-minute paper) and accompanying audio-visual material to the award committee chair by a deadline set by the chair.
The award will consist of a substantial amount of books, chosen by the winner, from the Cambridge University Press catalog. The award winner will be announced at the Society’s annual meeting. All applicants must be members of the Society for American Music.
This paper award is designed for non-students. International students may submit materials for the Mark Tucker Award.
In addition to the application form, the following materials are required:
- One electronic copy of the paper
- Any accompanying audio-visual material
Three weeks (21 calendar days) in advance of the first day of the annual conference. For the 2019 annual conference, the deadline is February 27, 2019.
||Colleen Renihan, "'For Some Melodies, There Are No Words': Memory, Affect, and the Limits of the Linguistic Turn in Heggie and Scheer's Out of Darkness"
||Colleen Renihan, “Pitching Opera: Defining and Dividing Music Theatre in Canada, 1970–1990”
||Kate Galloway, “Soundscaping the Radio: Experimental Soundwork and Hildegard Westerkamp’s Community Soundwalking on Vancouver Co-op Radio.”
||Emily Abrams Ansari, “The Virtue of American Power and the Power of American Virtue: Exceptionalist Tropes in Early Cold War Musical Nationalism”
||Mario Dunkel, “German Jazz Diplomacy in the Cold War Era”
||Kate Galloway, “Sounding and Composing the Harbour: Recontextualizing and Repurposing the Soundscape and Sense of Place in the Harbour Symphony”
||Mary I. Ingraham and Michael MacDonald, “Head Hunters, War Canoes, and the Reciprocal Negotiation of Ritual Performance”
||Claudia di Luzio, “Open Tasks in Opera: Luciano Berio’s Experimental Music Theater and His American Years”