Philip Brett Award Winners

The Philip Brett Award, sponsored by the LGBTQ Study Group of the American Musicological Society, was inaugurated in 1997 for exceptional musicological work in the field of gay, lesbian, bisexual, transgender/transsexual studies.

Recipients

2020	Judith Peraino “I’ll Be Your Mixtape: Lou Reed, Andy Warhol, and the Queer Intimacies of Cassettes,” The Journal of Musicology 36.4 (2019): 401-436.
2019	Daniel M. Callahan “The Gay Divorce of Music and Dance: Choreomusicality and the Early Works of Cage-Cunningham,” Journal of the American Musicological Society 71/2 (2018): 439–525.
2018	Alejandro Madrid “Secreto a Voces: Excess, Performance, and Jotería in Juan Gabriel’s Vocality,” GLQ: A Journal of Lesbian and Gay Studies 24/1 (2018): 85–111.
2017	Allison McCracken Real Men Don’t Sing: Crooning in American Culture (Duke University Press, 2015).
2016	William Cheng Just Vibrations: The Purpose of Sounding Good (University of Michigan Press, 2016).
2016	Christina Sunardi Stunning Males and Powerful Females (University of Illinois Press, 2015).
2015	Elias Krell “Singing Strange: Transvocality in North American Music Performance” (Ph.D. diss., Northwestern University, 2014).
2014	Lisa Barg “Queer Encounters in the Music of Billy Strayhorn,” Journal of the American Musicological Society 66/3 (2013): 771–824.
2013	Elizabeth L. Wollman Hard Times: The Adult Musical in 1970s New York City (Oxford University Press, 2012).
2012	Christopher Moore “Camp in Francis Poulenc’s Early Ballets,” The Musical Quarterly 95/2–3 (Summer–Fall 2012): 299–342.
	Mitchell Morris Syllabus to Music History/LBGTS M137, “LGBTQ Perspectives in Popular Music.”
2011	Will Cheng “The Wizard, the Troll, and the Fortress,” chapter in Sound Play: Video Games and the Musical Imagination (Oxford University Press, 2014), 139–66; shorter version appears as “Acoustemologies of the Closet,” in The Oxford Handbook of Virtuality, ed. Mark Grimshaw (Oxford University Press, 2014), 337–48.
	Emily Wilbourne “Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love,” Women and Music 13 (2009): 54–65.
2010	Roger Freitas Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani (Cambridge University Press, 2009). ISBN 978-0-521-88521-8.
2009	Annie Janeiro Randall Dusty! Queen of the Postmods (Oxford University Press, 2008). ISBN: 978-0195329438.
2009	Philip Bullock “Ambiguous Speech and Eloquent Silence: The Queerness of Tchaikovsky’s Songs,” 19th-Century Music 32/1 (2008): 94–128.
2008	George Haggerty, Jenny Doctor, and Susan McClary Music and Sexuality in Britten: Selected Essays of Philip Brett (University of California Press, 2006). ISBN: 978-0520246102.
2008	Martin Pénet “L’expression homosexuelle dans les chansons françaises de l’entre-deux-guerre: entre derision et ambiguïté” Revue d’histoire moderne et contemporaine 53/4 (2006): 106–27.
2007	Suzanne G. Cusick “Music as Torture, Music as a Weapon,” paper presented at AMS Los Angeles 2006, and “Queer Performativity and the Gender Order in the GWOT [Global War on Terror],” paper presented at the “Queer Vibrations” conference, Cornell University, March, 2007.
2006	Nadine Hubbs The Queer Composition of America’s Sound (University of California Press, 2004). ISBN 0520241851.
2006	Sherry Lee “A Florentine Tragedy, Or Woman as Mirror” Cambridge Opera Journal 18/1 (2006): 33–58.
2005	Judith Peraino Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig (University of California Press, 2006). ISBN 0520215877.
2004	Ruth Sara Longobardi “Music as Subtext: Reading between the Lines,” from “Models and Modes of Musical Representation in Benjamin Britten’s Death in Venice: Musical, Historical, and Ideological Contexts” (Ph.D. Diss., Columbia University, 2004).
2003	Boden Sandstrom Radical Harmonies (Woman Vision, 2002)
2002	Lloyd Whitesell and Sophie Fuller Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002). ISBN: 978-0252027406.
2001	Bruce Holsinger Music, Body, and Desire in Medieval Culture, (Stanford University Press, 2001). ISBN: 978-0804740586.
2000	Byron Adams “The ‘Dark Saying’ of the Enigma: Homoeroticism and the Elgarian Paradox,” Nineteenth-Century Music 23/3 (2000): 218–35; and “‘No Armpits, Please, We’re British’: Whitman and English Music, 1884–1936,” in Walt Whitman and Modern Music: War, Desire and the Trials of Nationhood, ed. Lawrence Kramer (New York: Garland, 2000), 25–42.
1999	Martha Mockus “Sounding Out: Lesbian Feminism and the Music of Pauline Oliveros” (Ph.D. dissertation: University of Minnesota, 1999).
1998	Gillian Rodger “Male Impersonation on the North American Variety and Vaudeville Stage, 1868–1930” (Ph. D. dissertation: University of Pittsburgh, 1998).
1997	Elizabeth Wood “Decomposition,” in Decomposition: Post-Disciplinary Performance, ed. Sue-Ellen Case, Philip Brett, and Susan Leigh Foster (Bloomington: Indiana University Press, 2000); and “The Lesbian in the Opera: Desire Unmasked in Smyth’s Fantasio and Fête Galante,” in En travesti: Women, Gender Subversion, Opera, eds. Corinne E. Balckmer and Patricia Juliana Smith (New York: Columbia University Press, 1995).

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Recipients