Julius Herford Dissertation Prize

Sponsored by Classical Movements

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 in cash and a plaque.

Nominations for the outstanding 2018 project are closed (deadline: June 1, 2019).

Previous Winners

1981 - Graeme Cowen, for "Igor Stravinsky's Threni: a conductor's study for performance." (Indiana University)

1982 - Chester Lee Alwes, Jr., for "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." (University of Illinois – Urbana)

1983 - Catherine Rose Melhorn, for "Mendelssohn's Die erste Walpurgisnacht." (University of Illinois – Urbana)

1984 - G. Roberts Kolb, for "Tours MS. 168: The music of Guillaume Bouzignac." (University of Illinois – Urbana)

1985 - Leonard Ratzlaff, for "A conductor's preparatory analysis of Anton Bruckner's Te Deum." (University of Iowa)

1986 - Craig Jon Westendorf, for "The textual and musical repertoire of the Spruchmotette." (University of Illinois – Urbana)

1987 - Stanley B. Wold, for " Eskil Hemberg-Swedish composer, choral conductor, and administrator: a survey of his works." (University of Cincinnati)

1988 Melinda Pauly O'Neal, for "Berlioz's L'Enfance du Christ: trilogie sacrée, op. 25: a conductor's analysis for performance." (Indiana University)

1989 - Carmen Helena Téllez, for "Musical form and dramatic concept in Handel's Athalia."(Indiana University)

1990 - Christine De Catanzaro, for "Sacred music in Mozart's Salzburg: authenticity, chronology, and style in the church works of Cajetan Adlgasser." (University of North Carolina)

1991 - Edward J. Lundergan, for "Benjamin Britten's War Requiem: stylistic and technical sources." (University of Texas at Austin)

1991 - A. Christopher Munn, for "Medieval and Renaissance prescriptions regarding text underlay and their application to music of the fifteenth century." (University of Oklahoma)

1992 - Marika Kuzma, for "Dmitrii Stepanovich Bortnianskii (1751-1825): An introduction to the composer through an edition of his Choral Concertos Priidite, vospoim and Hlasom moim." (Indiana University)

1993 - James Armstrong, for "Litaniae Laurentanae: Sacred Music at the Viennese Imperial Court, ca. 1700-1783." (University of Wisconsin – Madison)

1994 - David Newby, for "Igor Stravinsky's Oedipus rex: Literary background, musical structure, and dramatic symbolism." (Indiana University)

1995 - Betty Karol Fairchilds Wilson, for "Choral Pedagogy: Crossroads of Theory and Practice in Sixteenth-Century Germany." (Boston University)

1996 - none selected

1997 - Richard Sparks, for "The Swedish Choral Miracle: A Cappella Choral Music." (University of Cincinnati)

1998 - none selected

1999 - Kirin Nielsen, for "The Spiritual Madrigals of Giovanni Pierluigi da Palestrina." (University of Illinois – Urbana)

2000 – Andrew Kuster, for "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." (University of Colorado)

2001 - James John, for “Johannes Brahms’s Nänie, Op. 82: A Study in Context and Content.” (Eastman School of Music)

2002 - Elizabeth Zobel, for "Benjamin Britten's War Requiem." (University of Colorado)

2003 - none selected

2004 - Timothy Newton, for "A Study and Critical Ediition of Samuel Capricornus’s Theatrum musicum (1669, 1670) and Continuatio theatri musici (1669)." (University of Illinois)

2005 - Laurier Fagnan, for "The Acoustical Effects of the Core Principles of the Bel Canto Method on Choral Singing." (University of Alberta/IRCAM)

2005 - Christopher Jackson, for "An Examination, Reinterpretation and Application of Selected Performance Practices in Four Motets of Luca Marenzio (1553-1599): Implications for a Modern Choral Performance Context." (University of Arizona)

2006 - Robert Lamb, for "Michel-Richard de Lalande's In convertendo Dominus: A Performance Edition with Performing Commentary." (University of Cincinnati)

2007 - Mark Chaney, for "Four Motets from the Florilegium Portense." (Ohio State University)

2007 - Robert Gehrenbeck, for "An analysis of Giles Swaynes CRY, Magnificat I, Missa Tiburtina, and Stabat Mater." (Indiana University)

2008 - Kevin Leong, for "The Hymn Settings of Ludwig Senfl's Liber vesperarum festorum solennium, D-Mbs Mus. Ms. 52." (Boston University)

2009 - Brian T. Russell, for "The Psalm Settings of Telemann: A Study in Performance Practice with Critical Editions of Seven Psalms for SATB Voices and Orchestra." (Eastman School of Music)

2010: Michael McGaghie, for “Macaronic Things: Thornton Wilder and the Late Choral Music of Dominick Argento.” (Boston University)

2011 - Kevin O'Brien, for “Russell Woollen: "Catalogue and Contextual Examination of the Sacred Music.” (The Catholic University of America)

2012 - Christopher Shepard, for "Evolution and Revolution: J.S. Bach's Mass in B minor, BWV 232 in New York City, 1900-1980." (University of Sydney)

2013 - Trey Davis, for "‘No one imagined…’: ennobled suffering in David Lang’s the little match girl passion, An examination of profane pietism amid sacred form.” (Texas Tech University)

2014 - Thomas J. Tropp, for “Cantaten in Musik gesetzt von W. A. Mozart: The Contrafacta Cantatas, K. Anh. 124-130.”(Northwestern University)

2014 - Cory D. Wikan, for “Robert Shaw and the Brahms Requiem, op 45: A Conductor’s Approach to Performing a Masterpiece.” (Boston University)

2015- Dr. Allison Fromm, for “Aaron Copland’s In the Beginning: context and creative process.”  (University of Illinois, Champaign-Urbana)

2015 - Dr. Michael Slon, for “Leonard Bernstein – The Crisis and Revision of Faith: Kaddish, Chichester Psalms, and Mass.”  (Indiana University)

2016 - Dr. Michael Driscoll, for "Jan Dismas Zelenka’s ‘Dixit Dominus’ Settings Within the Context of the Dresden Hofkapelle." (Boston University)

2016 - Dr. Carolyn Rose Rynex, for “Arabesque and the Early Music Influence in Debussy’s Trois Chansons de Charles d’Orléans.” (Arizona State University)

2017 - Dr. Alison Allerton, for "'Leave All That You Have, That You May Take All': What Hugo Distler's Totentanz Reveals About His Life and Music." (Louisiana State University)