{"id":242,"date":"2024-02-01T17:21:05","date_gmt":"2024-02-02T01:21:05","guid":{"rendered":"https:\/\/www.psc.ams-net.org\/?page_id=242"},"modified":"2026-05-05T15:39:01","modified_gmt":"2026-05-05T22:39:01","slug":"ingolf-dahl-award","status":"publish","type":"page","link":"https:\/\/www.psc.ams-net.org\/?page_id=242","title":{"rendered":"Ingolf Dahl Award"},"content":{"rendered":"

HISTORY<\/strong>
\nThe 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 spring meeting.<\/p>\n

PROCEDURE<\/strong>
\n(adopted Fall 2022)<\/p>\n

Part I: Selection of Papers for the Competition: <\/strong>The program committee for the spring meeting (which may include last year’s Dahl winner) selects all papers regardless of their eligibility for the competition (blind reading).\u00a0 All papers presented by qualifying graduate students are considered for the competition.\u00a0 The competition will only take place if there are a minimum of two papers.<\/p>\n

To be eligible, the student must be pursuing a graduate degree at an institution within the Pacific Southwest Chapter of the AMS and must be a member of the chapter.<\/p>\n

Part II: Selection of the Winner at the Spring Meeting: <\/strong>A panel of three members selects the winner after a short break for deliberations following the last paper.\u00a0 The panel is appointed in advance of the meeting by the President and Vice President in consultation with the previous year’s winner.\u00a0 It consists of two faculty members and one student (the previous year’s winner may serve as one of the two faculty or as the student, depending on current status).\u00a0 No two members of the panel can come from the same institution, and no one on the panel can come from the same institution as a presenter.<\/p>\n

RECIPIENTS<\/strong><\/p>\n

2026
\n<\/strong>Morgan Bates (UCLA), <\/i>\u201c\u2018The Space In My Mouth\u2019: Voicing Queer\/Trans Liminalities in Ang\u00e9lica Negr\u00f3n\u2019s The Island We Made <\/i>(2021)\u201d<\/p>\n

2025\u00a0<\/strong>
\nMolly Hennig (UCLA), “Redoing Opera Through the Ears of Babes: NOOMA<\/em> (2009) and BambinO <\/em>(2017)”<\/p>\n

2024
\n<\/strong>Winner: Ramona Gonzalez (UCLA), “‘King of Sorrow’: The Storm amid the Quiet in Sade’s Lovers Live<\/em>”
\nHonorable Mention: Ashley Dao (UCLA), \u201cCh\u00fang T\u00f4i \u0110i Mang Theo Qu\u00ea H\u01b0\u01a1ng: Intergenerational Nostalgia, Trauma, & Empathy in the Musicking of Little Saigon\u201d<\/p>\n

2023
\n<\/strong>Lily Shababi (UCLA), “Culturally Situating Trans-Femininity through Hyperpop\u2019s Technologically-Processed Vocals”<\/p>\n

2022<\/strong>
\nJo\u00e3o Martins (UC Irvine), “Delimiting Improvisation: (mis-)applications of jazz theory in institutional jazz pedagogy”
\n<\/strong><\/p>\n

2021
\n<\/strong>Pedro L\u00f3pez de la Osa (UC Riverside), “Re-Forgetting the Past: Internal Exile and the ‘Cultura de la Transici\u00f3n’ Culture in Spanish Musicology: A Critical Approach”
\n<\/strong><\/p>\n

2020<\/strong><\/p>\n

2019<\/strong>
\nMalachai Komanoff Bandy (USC), \u201cMake of the Man and Woman a Circle’: Geometry, Alchemy, and Compositional Unio Mystica<\/em> in Buxtehude’s Settings of Psalms 42 and 73″
\n
\n2018<\/strong>
\nKirsten Paige (UC Berkeley), \u201cOn the Politics of Performing Wagner Outdoors, 1909-1959: Open-Air Opera and the Third Reich”<\/p>\n

2017<\/strong>
\nBernard Gordillo (UC Riverside), \u201cThe Raja’s Nicaraguan Dream: Exoticism, Commemoration, and Nostalgia in Luis A. Delgadillo’s Romance Oriental<\/em>”<\/p>\n

2016<\/strong>
\nAlison Maggart (USC), \u201cEmil Schmorg\u201d or Till Eulenspiegel<\/em>?: A Newly Discovered Cadenza by Richard Strauss\u201d<\/p>\n

2015<\/strong>
\nCharissa Noble (UC Santa Cruz), \u201c \u2018They\u2019re freaks, they\u2019re phenomena . . . but I can really sing\u2019: Canonicity, Legibility, and the Politics of Music and Gender in Joan La Barbara\u2019s\u00a0Cathing<\/em>\u201d<\/p>\n

2014<\/strong>
\nDanielle Stein (CSU Northridge), \u201cThe Office of Strategic Services\u2019 Musac Project: ‘Lili Marleen,’ Marlene Dietrich, and the Propaganda Music of WWII\u201d<\/p>\n

2013<\/strong>
\nValerio Morucci (UC Davis), \u201cSecular Patronage at the Orsini Court: Music, Poetry, and the Rhetoric of Early Monody\u201d<\/p>\n

2012<\/strong>
\nEric Tuan (Stanford), \u201c\u2018Beyond the Cadence\u2019: Post-Cadential Extensions and Josquin\u2019s Compositional Style\u201d<\/p>\n

2011<\/strong>
\nMatthew Blackmar (CSULB), \u201cFrom ‘Sermons in Tones’ to Tin Pan Alley: Wagner and Gilded Age Music Publishing\u201d
\n
\n2010<\/strong>
\nWilliam Quillen (UC Berkeley), \u201c \u2018Back to the Future\u2019: The 1920s in Russian Music Today\u201d<\/p>\n

2009<\/strong>
\nRichard Brown (USC), \u201c ‘The Spirit Inside Each Object’: John Cage, Oskar Fischinger, and ‘The Future of Music’ \u201d
\n
\n(2008\u2028on hiatus, no award given)<\/em>
\n
\n2007<\/strong>
\nGwyneth Bravo (UCLA), \u201cComposing at the \u2018Nullpunkt\u2019: Death and Transformation in Viktor Ullmann’s\u00a0Kaiser von Atlantis<\/em>\u201d<\/p>\n

2006<\/strong>
\nSarah Eyerly (UC Davis), \u201c \u2018Singing from the Heart\u2019: Memorization and Improvisation in an Eighteenth-Century Utopian Community\u201d<\/p>\n

2005<\/strong>
\nGordon Haramaki (UCLA), \u201c \u2018In the Flesh as Well as the Spirit\u2019: (Meta)Physical Embodiment in Monteverdi\u2019s setting of Ave Maris Stella<\/em> (1610)\u201d<\/p>\n

2004<\/strong>
\nSara Gross (UCLA), \u201cScarlatti and the Spanish Body: On National Character in the Keyboard Works of Domenico Scarlatti\u201d<\/p>\n

2003<\/strong>
\nJonathan Greenberg (UCLA), \u201cThe Generic Bifurcation of the Lied at the Fin de si\u00e8cle: Both Versions of Mahler\u2019s\u00a0Lieder eines fahrenden Gesellen<\/em>\u201d<\/p>\n

2002<\/strong>
\nPeter J. Schmelz (UC Berkeley), \u201cThe Man Who Was Forbidden to Eat Chocolate: Edison Denisov\u2019s\u00a0Sun of the Incas<\/em>\u00a0and Unofficial Music in the Soviet Union, c. 1965\u201d<\/p>\n

2001<\/strong>
\nKate Bartel (UCLA), \u201cSacred Structure, Scriptural Sense: Josquin\u2019s\u00a0Huc me sydereo<\/em>\u201d<\/p>\n

2000<\/strong>
\nBeth E. Levy (UC Berkeley), \u201cHow Roy Harris Became Western\u201d<\/p>\n

1999<\/strong>
\nJacqueline Warwick (UCLA), \u201cFleshing Out Bilitis\u201d
\n
\n1998<\/strong>
\nFrancesca Draughon (UCLA), \u201c \u2018Truth and Poetry in Music\u2019: Autobiography in the Funeral March of Mahler\u2019s First Symphony\u201d
\n
\n1997<\/strong>
\nSteven Baur (UCLA), \u201cBeethoven, Myth and the Sonata quasi una fantasia, Op. 27, No. 2\u201d
\n
\n1996<\/strong>
\nKl\u00e1ra M\u00f3ricz (UC Berkeley), \u201cPolitics, Religion, and Music in Arnold Schoenberg\u2019s\u00a0Kol Nidre<\/em>\u00a0and\u00a0A Survival from Warsaw<\/em>\u201d
\n
\n1995<\/strong>
\nJohn McGuinness (UCSB), \u201cDebussy’s\u00a0Jeux<\/em>:\u00a0Moment Form or Movement Form?\u201d
\n
\n1994<\/strong>
\nAnnette Richards (Stanford), \u201cNature Untamed by Art? The Free Fantasia and the Musical Picturesque\u201d
\n
\n1993<\/strong>
\nMark Brill (UC Davis), \u201cColonial Rediscovery: A New World Zapotec Mass\u201d
\n
\n1992<\/strong>
\nLuisa Vilar-Pay\u00e1 (UC Berkeley), \u201cOf Row Forms and Counterpoint: Axes of Symmetry and Pitch-Class Retention in the Minuet of Schoenberg\u2019s Suite Op. 25\u201d
\n
\n1991<\/strong>
\nWalter Aaron Clark (UCLA), \u201cTo See Ourselves as Others See Us?: Isaac Alb\u00e9niz\u2019s\u00a0Pepita Jim\u00e9nez\u00a0<\/em>and Spanish Opera al fin de siglo\u201d<\/p>\n

1990<\/strong>
\nJoan Brainard (Stanford), \u201cSome Suggestions for Performance of Bartok’s Six Dances in Bulgarian Rhythm\u201d
\n
\n1989<\/strong>
\nLeah Morrison (USC), \u201cMore Greenery! More Foliage! German Set Design 1813-1883 and Wagner’s Quest for Illusion\u201d
\n
\n1988
\n<\/strong>Michael Lee (USC), \u201cNikolai Rimsky-Korsakov: Portrait of a Musical Revolutionary\u201d<\/p>\n

1987<\/strong>
\nIrene Alm (UCLA), \u201cStravinsky, Balanchine and Agon<\/em>: An Analysis Based on the Collaborative Process\u201d
\n
\n1986<\/strong>
\nPhilip E. Schreur (Stanford), \u201cThe Notational figurae of Philippus de Caserta\u201d
\n
\n1985<\/strong>
\nAlyson McLamore (UCLA), \u201cTactus: The Common Weedcutter’s Beat\u201d
\n
\n1984<\/strong>
\nDavid Breckbill (UC Berkeley), \u201cSingers and Singing in\u00a0The Ring<\/em>\u00a0until World War II\u201d
\n
\n1983<\/strong>
\nRoland Hutchinson (Stanford), \u201cThe Philosophe as Musicus: Moses Mendelssohn, Kirnberger, and Equal Temperament\u201d
\n
\n1982<\/strong>
\nV. Kofi Agawu (Stanford), \u201c\u2018Structure\u2019 versus \u2018Rhetoric\u2019 in Classic Music: A Study of Beethoven\u2019s Opus 132\u201d
\n
\n1981<\/strong>
\nStephen Parkany (UC Berkeley), \u201cThe Music Process of\u00a0Siegfried<\/em>,\u00a0Act I, Scene 2\u201d
\n
\n1980<\/strong>
\nCherly Lee Spencer (USC), \u201cThe Question of Rhythm in a 13th-Century Lauda Manuscript\u201d
\n
\n1979<\/strong>
\nVictoria J. Lindsay (CFSU), \u201cModulation and Style Shift in Soler\u2019s Keyboard Sonatas\u201d
\n
\n1978<\/strong>
\nCheryl Sprague (UCLA), \u201cArtaserse\u00a0Transformed: The Metamorphoses of a Metastasian Libretto during the 18th Century\u201d
\n
\n1977<\/strong>
\nPamela Susskind (UC Berkeley), \u201cClara Schumann, Pianist and Composer\u201d
\n
\n1976<\/strong>
\nBrian Mann (UC Berkeley), \u201cMichelangelo Rossi’s Madrigali\u201d
\nBarbara M. Barclay (UCLA), \u201cOrgana Lititi\u201d
\nMary Kay Duggan (UC Berkeley), \u201cQueen Joanna and Her Musicians\u201d
\n
\n1975<\/strong>
\nThomas Bauman (UC Berkeley), \u201cBenda\u2019s Melodrama: Musical, Theatrical and Social Environment\u201d
\n
\n1974<\/strong>
\nBruce Lamott (Stanford), \u201cThe Spiridion Novo Instruction: Source Book for Keyboard Improvisation\u201d
\n
\n1973<\/strong>
\nLester Brothers (UCLA), \u201cA New World Mass by Capillas\u201d
\n
\n1972<\/strong>
\nJames Moore (UCLA), \u201cThe\u00a0Dafne<\/em>\u00a0of Gagliano\u201d
\n
\n1971<\/strong>
\nDavid Fallows (UC Berkeley), \u201cLuffil: An English Song in South-German Sources of the 15th-Century\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

HISTORY 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 […]<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","footnotes":""},"class_list":["post-242","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages\/242","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=242"}],"version-history":[{"count":5,"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages\/242\/revisions"}],"predecessor-version":[{"id":380,"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=\/wp\/v2\/pages\/242\/revisions\/380"}],"wp:attachment":[{"href":"https:\/\/www.psc.ams-net.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}