Winners of the Patricia Carpenter Emerging Scholar Award
MTSNYS both supports and encourages pre-professionals in their pursuit of a career in music theory with an Emerging Scholar Award for the best student paper at the annual meeting. The award, which was renamed the Patricia Carpenter Emerging Scholar Award in 2004, carries a cash prize and promise of publication in Theory and Practice. Both the oral and written version of the paper are taken into consideration, and any student who has not yet received a doctoral degree at the time of the meeting is eligible. The winners have been:
| Year | Scholar | Paper |
|---|---|---|
|
2023
|
Stephen Spencer | “Visualizing the Relative Brightness of Concurrent Textural Layers in Ruth Crawford’s Music for Small Orchestra (1926)” |
|
2022
|
Issa Aji | “The Making of Tarab: Emotion as Temporal Disruption in Umm Kulthūm’s ‘Alf Leila wa Leila’” |
|
2021
|
Anna Yu Wang | “Perceiving banyan: Temporal Syntax Unbeholden to Periodicity” |
|
2020
|
Kyle Hutchinson | “From A Certain Point of View: Learning to Hear Consonance as Dissonance in Late Nineteenth-Century Tonality” |
|
2019
|
Michèle Duguay Ben Baker |
“A Model for Measuring Physical Balance in Contemporary Piano Works” “A Cyclic Approach to harmony in Robert Glasper’s Music” |
|
2018
|
Thomas Jul Kirkegaard-Larsen | “Transformational Attitudes in Scandinavian Function Theories” |
|
2017
|
Derek Remeš | “J.S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source” |
|
2016
|
Olga Sánchez-Kisielewska | “Interactions Between Topics and Schemata: The Case of the Sacred Romanesca” |
|
2015
|
Joan Huguet | “Reconsidering Interruption in Rondo Forms” |
|
2014
|
Zachary Bernstein | “The Problem of Completion in Milton Babbitt’s Music and Thought” |
|
2013
|
Sarah Marlowe | “On the Subject of Tonal Answers: A Closer Look at William Renwick’s Paradigms” |
|
2012
|
Rodney Garrison | “Unraveling Heinrich Schenker’s Ideas of Musical ‘Unfolding’” |
|
2011
|
Drew F. Nobile | “Form and Voice Leading in Early Beatles Songs” |
|
2010
|
Jason Hooper | “Heinrich Schenker’s early Theory of Form, 1895–1914” |
|
2009
|
Christopher Segall | “K-Nets, Inversion, and Gravitational Balance” |
| Noam Sivan – Honorable Mention | “Teaching Improvisation: The Creative Application of Theory in Performance” | |
|
2008
|
Katharine Soper
|
“Making Many From Few: Orchestration in the Chamber Works of Ruth Crawford Seeger” |
|
2007
|
J. Daniel Jenkins | “Schoenberg’s Concept of ruhende Bewegung” |
|
2006
|
Vasili Byros | “‘Tonal oder Atonal?’: Interval Cycles, Whole-Tone Tonality, and the Dialectics of Musical Process in Berg’s Piano Sonata, op. 1” |
|
2005
|
Sam Ng | “The Hemiolic Cycle and Metric Dissonance in Brahms’s Cello Sonata in F, op. 99” |
|
2004
|
José António Martins | “Stravinsky’s Harmonic Practice and the Guidonian Space” |
|
2003
|
Jeannie Guerrero | “Multidiminsional Counterpoint and Social Subversion in Luigi Nono’s Choral Music” |
|
2002
|
Adam Ricci | “A Classification Scheme for Harmonic Sequence” |
|
2001
|
Don Traut | “Displacement and its Role in Schenkerian Theory” |
|
2000
|
Stephen Slottow | “Fifths and Semitones: A Ruggles Compositional Model and its Unfoldings” |
|
1999
|
Daphne Leong | “Metric Conflict in the First Movement of Bartók’s Sonata for Two Pianos and Percussion” |
|
1998
|
Matthew Santa | “Chordal Tone Centers in Stravinsky’s Neoclassical Music” |
|
1995
|
Wayne Alpern | “Aggregates, Assassination, and an ‘Act of God’: The Impact of the Murder of Archduke Ferdinand Upon Webern’s Op. 7 No. 3” |
|
1994
|
Wayne Petty | “Cyclic Integration in Haydn’s E-flat Piano Sonata Hob. XVI:38” |
|
1993
|
Jennifer Shaw | “Rethinking Schoenberg’s Composition of Die Jacobsleiter” |