The Ingolf Dahl Award
The Ingolf Dahl Award in Musicology was established by the Pacific Southwest Chapter of the American Musicological Society in 1971 in memory of the late professor of music at the University of Southern California. The Award is given for the best student paper read at the annual joint meeting of the Northern California and Pacific Southwest chapters by a student who is currently enrolled in an institution within the boundaries of the two sponsoring chapters.
Three papers are selected by a nominating committee headed by the previous year's recipient. All three finalists present their papers in the Sunday morning session of the meeting, after which a panel of judges will select and announce the winning paper.
Recipients
2019
Malachai Komanoff Bandy (USC), “ Make of the Man and Woman a Circle': Geometry, Alchemy, and Compositional Unio Mystica in Buxtehude's Settings of Psalms 42 and 73
2017
2018
Kirsten Paige (UC Berkeley), “ On the Politics of Performing Wagner Outdoors, 1909-1959: Open-Air Opera and the Third Reich
2017
Bernard Gordillo (UC Riverside), “ The Raja's Nicaraguan Dream: Exoticism, Commemoration, and Nostalgia in Luis A. Delgadillo's Romance Oriental
2016
Alison Maggart (USC), “ Emil Schmorg” or Till Eulenspiegel? : A Newly Discovered Cadenza by Richard Strauss”
2015
Charissa Noble (UC Santa Cruz), “ ‘They’re freaks, they’re phenomena . . . but I can really sing’: Canonicity, Legibility, and the Politics of Music and Gender in Joan La Barbara’s Cathing”
2014
Danielle Stein (CSU Northridge), “The Office of Strategic Services’ Musac Project: “Lili Marleen,” Marlene Dietrich,
and the Propaganda Music of WWII”
2013
Valerio Morucci (UC Davis), “Secular Patronage at the Orsini Court: Music, Poetry, and the Rhetoric of Early Monody”
2012
Eric Tuan (Stanford), “‘Beyond the Cadence’: Post-Cadential Extensions and Josquin’s Compositional Style”
2011
Matthew Blackmar (CSULB), “From “Sermons in Tones” to Tin Pan Alley: Wagner and Gilded Age Music Publishing”
2010
William Quillen (UC Berkeley), “ ‘Back to the Future’: The 1920s in Russian Music Today”
2009
Richard Brown (USC), “The Spirit Inside Each Object”: John Cage, Oskar Fischinger, and “The Future of Music”
2008
- Hiatus -
2007
Gwyneth Bravo (UCLA), “Composing at the ‘Nullpunkt’: Death and Transformation in Viktor Ullmann's Kaiser von Atlantis”
2006
Sarah Eyerly (UC Davis), “‘Singing from the Heart’: Memorization and Improvisation in an Eighteenth-Century Utopian Community.”
2005
Gordon Haramaki (UCLA), “‘In the Flesh as Well as the Spirit’: (Meta)Physical Embodiment in Monteverdi’s setting of Ave Maris Stella (1610).”
2004
Sara Gross (UCLA), “Scarlatti and the Spanish Body: On National Character in the Keyboard Works of Domenico Scarlatti.”
2003
Jonathan Greenberg (UCLA), “The Generic Bifurcation of the Lied at the Fin de siècle: Both Versions of Mahler’s Lieder eines fahrenden Gesellen”
2002
Peter J. Schmelz (UC Berkeley), “The Man Who Was Forbidden to Eat Chocolate: Edison Denisov’s Sun of the Incas and Unofficial Music in the Soviet Union, c. 1965”
2001
Kate Bartel (UCLA), “Sacred Structure, Scriptural Sense: Josquin’s Huc me sydereo”
2000
Beth E. Levy (UC Berkeley), “How Roy Harris Became Western”
1999
Jacqueline Warwick (UCLA), “Fleshing Out Bilitis”
1998
Francesca Draughon (UCLA), “‘Truth and Poetry in Music’: Autobiography in the Funeral March of Mahler’s First Symphony”
1997
Steven Baur (UCLA), “Beethoven, Myth and the Sonata quasi una fantasia, Op. 27, No. 2”
1996
Klára Móricz (UC Berkeley), “Politics, Religion, and Music in Arnold Schoenberg’s Kol Nidre and A Survival from Warsaw”
1995
John McGuinness (UCSB), “Debussy's Jeux: Moment Form or Movement Form?”
1994
Annette Richards (Stanford), “Nature Untamed by Art? The Free Fantasia and the Musical Picturesque”
1993
Mark Brill (UC Davis), “Colonial Rediscovery: A New World Zapotec Mass”
1992
Luisa Vilar-Payá (UC Berkeley), “Of Row Forms and Counterpoint: Axes of Symmetry and Pitch-Class Retention in the Minuet of Schoenberg’s Suite Op. 25”
1991
Walter Aaron Clark (UCLA), “To See Ourselves as Others See Us?: Isaac Albéniz’s Pepita Jiménez and Spanish Opera al fin de siglo”
1990
Joan Brainard (Stanford), “Some Suggestions for Performance of Bartok's Six Dances in Bulgarian Rhythm”
1989
Leah Morrison (USC), “More Greenery! More Foliage! German Set Design 1813-1883 and Wagner's Quest for Illusion”
1988
Michael Lee (USC), “Nikolai Rimsky-Korsakov: Portrait of a Musical Revolutionary”
1987
Irene Alm (UCLA), “Stravinsky, Balanchine and Agon: An Analysis Based on the Collaborative Process”
1986
Philip E. Schreur (Stanford), “The Notational figurae of Philippus de Caserta”
1985
Alyson McLamore (UCLA), “Tactus: The Common Weedcutter's Beat”
1984
David Breckbill (UC Berkeley), “Singers and Singing in The Ring until World War II”
1983
Roland Hutchinson (Stanford), “The Philosophe as Musicus: Moses Mendelssohn, Kirnberger, and Equal Temperament”
1982
V. Kofi Agawu (Stanford), “‘Structure’ versus ‘Rhetoric’ in Classic Music: A Study of Beethoven’s Opus 132”
1981
Stephen Parkany (UC Berkeley), “The Music Process of Siegfried, Act I, Scene 2”
1980
Cherly Lee Spencer (USC), “The Question of Rhythm in a 13th-Century Lauda Manuscript”
1979
Victoria J. Lindsay (CFSU), “Modulation and Style Shift in Soler’s Keyboard Sonatas”
1978
Cheryl Sprague (UCLA), “Artaserse Transformed: The Metamorphoses of a Metastasian Libretto during the 18th Century”
1977
Pamela Susskind (UC Berkeley), “Clara Schumann, Pianist and Composer”
1976
Brian Mann (UC Berkeley), “Michelangelo Rossi's Madrigali”
Barbara M. Barclay (UCLA), “Organa Lititi”
Mary Kay Duggan (UC Berkeley), “Queen Joanna and Her Musicians”
1975
Thomas Bauman (UC Berkeley), “Benda’s Melodrama: Musical, Theatrical and Social Environment”
1974
Bruce Lamott (Stanford), “The Spiridion Novo Instruction: Source Book for Keyboard Improvisation”
1973
Lester Brothers (UCLA), “A New World Mass by Capillas”
1972
James Moore (UCLA), “The Dafne of Gagliano”
1971
David Fallows (UC Berkeley), “Luffil: An English Song in South-German Sources of the 15th-Century”