This competition recognizes the accomplishments of IAWM member scholars and researchers, and fosters IAWM’s goal of increasing awareness of the music journalism contributions of and about women. Past winners include some of the most distinguished scholars writing about women and music.
Laurel Parsons and Brenda Ravenscroft (eds.)
Analytical Essays on Music by Women Composers: Concert Music, 1960–2000. OUP, 2016.
Gurminder Kaur Bhogal, “Listening to female voices in Sikh kirtan.” Sikh Formations 13/1-2 (2016): 48–77.
Runner-up prize for dissertation:
Common-Tone Preserving Contextual Inversions in the Music of Ellen Taaffe Zwilich. PhD thesis, City University of New York, 2015.
Runner-up prize for reference work:
Music in The Girl’s Own Paper: An Annotated Catalogue, 1880–1910. Routledge, 2016.
Book prize: Denise Von Glahn’s Music and the Skillful Listener: American Women Compose the Natural World. Indiana University Press, 2013.
Article prize: Victoria Malawey, “’Find Out What It Means to Me’: Aretha Franklin’s Gendered Re-Authoring of Otis Redding’s ‘Respect’.” Popular Music 33/2 (2014): 185–207.
Michael Slayton (ed.)
Women of Influence: Nine American Composers. Scarecrow Press, 2011.
“Living Between Worlds Ancient and Modern: The Musical Collaboration of Kathleen Schlesinger and Elsie Hamilton.” Journal of the Royal Music Association 137/2 (2012): 197–242.
Dorothy de Val
In Search of Song: The Life and Times of Lucy Broadwood. Ashgate, 2012.
Pink Noises: Women on Electronic Music and Sound. Duke University Press, 2010.
“The Composer, the Surgeon, His Wife, and Her Poems: Haydn and the Anatomy of the English Canzonetta.” Eighteenth-Century Music 6/1 (2009): 77–112.
Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage. University of Illinois Press, 2009.
“The Articulation of Virginity in the Medieval Chanson de nonne.” Journal of the Royal Music Association 133/2 (2008): 159–188.
Bess Lomax Hawes
Sing it Pretty: A Memoir. University of Illinois Press, 2008.
The Prima Donna and Opera, 18151930. Cambridge Studies in Opera. Cambridge University Press, 2006.
Elizabeth Eva Leach
“‘The Little Pipe Sings Sweetly as the Fowler Deceives the Bird’: Sirens in the Middle Ages.” Music and Letters 87/2 (2006): 187–211.
Reference work prize:
Marion Gerards and Freia Hoffmann (eds.)
Musik-Frauen-Gender: Bücherverzeichnis 1780–2004. Schriftenreihe des Sophie Drinker Instituts vol. 4. BIS-Verlag, Oldenburg, 2006.
Desperate Measures: The Life and Music of Antonia Padoani Bembo. Oxford University Press, 2006.
Elizabeth Eva Leach
“Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression.” Music Theory Spectrum 28/1 (2006): 1–21.
Historically researched sound recording:
“Mrs. Widder’s Soiree Musicale, Toronto, 1844.” Melotrope Limited, Ottawa, 2005.
Lori Burns and Melisse Lafrance
Disruptive Divas: Feminism, Identity, and Popular Music. Routledge, 2002.
“Women and Music Technology: Pioneers, Precedents and Issues in the United States.” Organised Sound 8/1 (2003): 31–47.
Jane Bernstein (ed.)
Womens Voices Across Musical Worlds. Northeastern University Press, 2002.
Ruth Crawford Seeger: A Composers Search for American Music. Oxford University Press, 1997.
Article/book chapter prize:
Suzanne G. Cusick
“Gender, Musicology, and Feminism.” In: Rethinking Music, ed. Nicholas Cook and Mark Everist. Oxford University Press, 1999, pp. 471–498.
“‘As With Words of Fire’: Art Music and Nineteenth-Century African-American Feminist Discourse.” Signs 24/3 (Spring 1999): 603–632.
Elizabeth Jane Kertesz
“Issues in the Critical Re ception of Ethel Smyth’s Mass and First Four Op eras in England and Germany.” PhD dissertation, University of Melbourne, 2000.
Lisa A. Urkevich
“Anne Boleyn, A Music Book, and the Northern Renaissance Courts: Music Manuscript 1070 of the Royal College of Music, London.” PhD dissertation, University of Maryland, 1997.
Gender and the Musical Canon. Cambridge University Press, 1993.
Bonnie Jo Dopp
“Numerology and Cryptography in the Music of Lili Boulanger: The Hidden Program in Clairières dans le ciel.” The Musical Quarterly 78/3 (Fall 1994): 557–583.
Reference work prize:
Julie Anne Sadie and Rhian Samuel
The Norton/Grove Dictionary of Women Composers, 1st American ed. Norton, 1995.
Judith Lang Zaimont, Editor-in-Chief, and Jane Gottlieb, Joanne Polk, and Michael J. Rogan, Associate Editors
The Musical Woman: An International Perspective, Volume III: 1986-1990. Westport, CT: Greenwood Press, 1991.
Feminine Endings: Music, Gender and Sexuality. Minneapolis: University of Minnesota Press, 1991.
Women and Music: A History. Bloomington: Indiana University Press, 1991.
Women Composers: The Lost Tradition Found. New York: Feminist Press of the City University of New York, 1988.
Songprints: The Musical Experience of Five Shoshone Women. Urbana: University of Illinois Press, 1988.
Elinor Remick Warren: Her Life and Her Music. Metuchen, NJ: Scarecrow Press, 1987.
“The Apprentice System and the Music of Women.” Unpublished paper given at the Fourth International Congress on Women in Music, Atlanta GA, 1986.
The Los Angeles Heritage: Four Women Composers, 1918–1939. Ph.D. dissertation, University of California, Los Angeles, 1986.
First Prize (only prize awarded)
Jane Bower and Judith Tick
Women Making Music: The Western Art Tradition, 1150–1950. Urbana, IL: University of Illinois Press, 1987.
Catherine Parsons Smith and Cynthia S. Richardson
An American Woman: The Life and Music of Mary Carr Moore. Typescript, 1985. Subsequently published by the University of Michigan Press, 1987.
Nancy B. Reich
Clara Schumann: The Artist and the Woman. Ithaca, NY: Cornell University Press, 1985.
Third Prize (shared):
Grazyna Bacewicz: Her Life and Works. Los Angeles: Friends of Polish Music, 1985.
“Tarquinia Molza (1547–1617): A Case Study of Women, Music, and Society in the Renaissance.” Typescript, 1985. Subsequently published by Greenwood Press in The Musical Woman II, 1987.