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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.


2018 The Philip Brett Award proceedings were delayed last year so the 2018 and 2019 winners will be announced at the 2019 Annual Meeting
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 (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 (2008).
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 (2006).
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, 2006.
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 (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, edited by 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, edited by Corinne E. Balckmer and Patricia Juliana Smith (New York: Columbia University Press, 1995).