American Choral Directors Association

JULIUS HERFORD DISSERTATION PRIZE

Each year the Julius Herford Prize Subcommittee of the Research and Publications Committee accepts nominations for the outstanding doctoral terminal research project in choral music. Projects are eligible if they comprise the principal research component of the degree requirements, whether the institution defines the project as a “dissertation,” “document,” “thesis,” or “treatise,” etc. Eligibility is limited to doctoral recipients whose degrees were confirmed during the calendar year prior to the year of nomination. The winner will receive $1,000.00 in cash and a plaque. The Julius Herford Prize is sponsored by Classical Movements.

For Nomination Guidelines and Application Deadlines CLICK HERE


Herford Prize Winners

2013: Trey Davis (Texas Tech University)

"‘No one imagined…’: ennobled suffering in David Lang’s the little match girl passion, An examination of profane pietism amid sacred form”


2012: Christopher Shepard (University of Sydney)

"Evolution and Revolution: J.S. Bach's Mass in B minor, BWV 232 in New York City, 1900-1980"


2011: Kevin O'Brien (The Catholic University of America)

“Russell Woollen: "Catalogue and Contextual Examination of the Sacred Music”


2010: Michael McGaghie (Boston University)

“Macaronic Things: Thornton Wilder and the Late Choral Music of Dominick Argento.”


2009: Brian T. Russell (Eastman School of Music)

“The Psalm Settings of Telemann: A Study in Performance Practice with Critical Editions of Seven Psalms for SATB Voices and Orchestra.”


2008: Kevin Leong (Boston University)

“The Hymn Settings of Ludwig Senfl's Liber vesperarum festorum solennium, D-Mbs Mus. Ms. 52”


2007: Robert Gehrenbeck (Indiana University)

An analysis of Giles Swaynes CRY, Magnificat I, Missa Tiburtina, and Stabat Mater”


2007: Mark Chaney (The Ohio State University)

“Four motets from the Florilegium Portense”


2006: Robert Lamb (University of Cincinnati)

“Michel-Richard de Lalande's In convertendo Dominus: A performance edition with performing commentary”


2005: Christopher Jackson (University of Arizona)

“An examination, reinterpretation and application of selected performance practices in four motets of Luca Marenzio (1553-1599): Implications for a modern choral performance context”


2005: Laurier Fagnan (University of Alberta/IRCAM)

“The acoustical effects of the core principles of the Bel Canto Method on choral singing”


2004: Timothy Newton (University of Illinois)

“A Study and critical ediition of Samuel Capricornus’s Theatrum musicum (1669, 1670) and Continuatio theatri musici (1669)”


2003: None selected


2002: Elizabeth Zobel (University of Colorado)

“Benjamin Britten's War Requiem”


2001: James John (Eastman School of Music)

“Johannes Brahms’s Nänie, Op. 82: A study in context and content”


2000: Andrew Kuster (University of Colorado)

“Stravinsky's topology: An examination of his twelve-tone works through object-oriented analysis of structural and poetic-expressive relationships with special attention to his choral works and Threni”


1999 - Kirin Nielsen (University of Illinois – Urbana)

“The spiritual madrigals of Giovanni Pierluigi da Palestrina”


1998: None selected


1997: Richard Sparks (University of Cincinnati)

“The Swedish choral miracle: A Cappella choral music”


1996: None selected


1995: Betty Karol Fairchilds Wilson (Boston University

“Choral pedagogy: Crossroads of theory and practice in sixteenth-century Germany”


1994: David Newby (Indiana University)

“Igor Stravinsky's Oedipus rex: Literary background, musical structure, and dramatic symbolism”


1993: James Armstrong (University of Wisconsin – Madison)

“Litaniae Laurentanae: Sacred music at the Viennese Imperial Court, ca. 1700-1783”


1992: Marika Kuzma (Indiana University)

“Dmitrii Stepanovich Bortnianskii (1751-1825): An Introduction to the composer through an edition of his choral Concertos Priidite, vospoim and Hlasom moim”


1991: A. Christopher Munn (University of Oklahoma)

“Medieval and renaissance prescriptions regarding text underlay and their application to music of the fifteenth century”


1991: Edward J. Lundergan (University of Texas at Austin)

“Benjamin Britten's War Requiem: Stylistic and technical sources”


1990: Christine De Catanzaro (University of North Carolina)

“Sacred music in Mozart's Salzburg: Authenticity, chronology, and style in the church works of Cajetan Adlgasser”


1989: Carmen Helena Téllez (Indiana University)

“Musical form and dramatic concept in Handel's Athalia”


1988: Melinda Pauly O'Neal (Indiana University)

“Berlioz's L'Enfance du Christ: trilogie sacrée, op. 25: A conductor's analysis for performance”


1987: Stanley B. Wold (University of Cincinnati)

“Eskil Hemberg-Swedish composer, choral conductor, and administrator: A survey of his works”


1986: Craig Jon Westendorf (University of Illinois – Urbana)

“The textual and musical repertoire of the Spruchmotette”


1985: Leonard Ratzlaff (University of Iowa)

“A conductor's preparatory analysis of Anton Bruckner's Te Deum”


1984: G. Roberts Kolb (University of Illinois – Urbana)

“Tours MS. 168: The music of Guillaume Bouzignac”


1983: Catherine Rose Melhorn (University of Illinois – Urbana)

“Mendelssohn's Die erste Walpurgisnacht”


1982: Chester Lee Alwes, Jr. (University of Illinois – Urbana)

“Georg Otto's Opus Musicum Novum (1604) and Valentin Geuck's Novum et Insigne Opus (1604): A musico-liturgical analysis of two collections of gospel music from the Court of Hesse-Kassel”


1981: Graeme Cowen (Indiana University)

“Igor Stravinsky's Threni: A conductor's study for performance”