Philip Brett Award Winners
The Philip Brett Award, sponsored by the LGBTQ Study Group of the American Musicological Society, was inaugurated in 1997 for exceptional musicological work in the field of gay, lesbian, bisexual, transgender/transsexual studies.
Just Vibrations: The Purpose of Sounding Good; University of Michigan Press, 2016.
Stunning Males and Powerful Females ; University of Illinois Press, 2015.
"Singing Strange: Transvocality in North American Music Performance," Ph.D. diss., Northwestern University, 2014.
"Queer Encounters in the Music of Billy Strayhorn," Journal of the American Musicological Society, 66 (2013), 771-824.
|2013|| Elizabeth L. Wollman
Hard Times: The Adult Musical in 1970s New York City, Oxford University Press, 2012.
“Camp in Francis Poulenc’s Early Ballets,” The Musical Quarterly 95/2-3 (Summer-Fall 2012), 299-342.
Syllabus to Music History/LBGTS M137, “LGBTQ Perspectives in Popular Music”
"The Wizard, the Troll, and the Fortress," chapter in Sound Play: Video Games and the Musical Imagination (Oxford University Press, 2014), 139-66; shorter version appears as "Acoustemologies of the Closet," in The Oxford Handbook of Virtuality, ed. Mark Grimshaw (Oxford University Press, 2014), 337-48.
"Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love,” Women and Music 13 (2009): 54-65
Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani, Cambridge University Press, 2009. ISBN 978-0-521-88521-8. Buy it at Amazon
|2009||Annie Janeiro Randall
Dusty! Queen of the Postmods, Oxford University Press, 2008. ISBN: 978-0195329438. Buy it at Amazon
"Ambiguous Speech and Eloquent Silence: The Queerness of Tchaikovsky’s Songs," 19th-Century Music 32 (2008).
|2008||George Haggerty, Jenny Doctor, and Susan McClary
Music and Sexuality in Britten: Selected Essays of Philip Brett, University of California Press, 2006. ISBN: 978-0520246102. Buy it at Amazon
“L’expression homosexuelle dans les chansons françaises de l’entre-deux-guerre: entre derision et ambiguïté” Revue d’histoire moderne et contemporaine 53 (2006)
|2007||Suzanne G. Cusick
"Music as Torture, Music as a Weapon," paper presented at AMS Los Angeles 2006, and "Queer Performativity and the Gender Order in the GWOT [Global War on Terror]," paper presented at the "Queer Vibrations" conference, Cornell University, March, 2007
The Queer Composition of America’s Sound, University of California Press, 2004. ISBN 0520241851. Buy it at Amazon
“A Florentine Tragedy, Or Woman as Mirror” Cambridge Opera Journal 18, 2006
Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig, University of California Press, 2006. ISBN 0520215877. Buy it at Amazon
|2004||Ruth Sara Longobardi
"Music as Subtext: Reading between the Lines," from "Models and Modes of Musical Representation in Benjamin Britten's Death in Venice: Musical, Historical, and Ideological Contexts," Ph.D. Diss., Columbia University, 2004
Radical Harmonies (Woman Vision, 2002)
|2002||Lloyd Whitesell and Sophie Fuller
Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002). ISBN: 978-0252027406. Buy it at Amazon
Music, Body, and Desire in Medieval Culture (Stanford University Press, 2001). ISBN: 978-0804740586. Buy it at Amazon
"The 'Dark Saying' of the Enigma: Homoeroticism and the Elgarian Paradox," Nineteenth-Century Music 23 (2000), 218-35; and "'No Armpits, Please, We're British': Whitman and English Music, 1884-1936," in Walt Whitman and Modern Music: War, Desire and the Trials of Nationhood, ed. Lawrence Kramer (New York: Garland, 2000), 25-42
"Sounding Out: Lesbian Feminism and the Music of Pauline Oliveros" (Ph.D. dissertation: Universidy of Minnesota, 1999)
"Male Impersonation on the North American Variety and Vaudeville Stage, 1868-1930" (Ph. D. dissertation: University of Pittsburgh, 1998)
"Decomposition" in Decomposition: Post-Disciplinary Performance, edited by Sue-Ellen Case, Philip Brett, and Susan Leigh Foster (Bloomington: Indiana University Press, 2000) and "The Lesbian in the Opera: Desire Unmasked in Smyth's Fantasio and Fête Galante," in En travesti: Women, Gender Subversion, Opera, edited by Corinne E. Balckmer and Patricia Juliana Smith (New York: Columbia University Press, 1995)