For 2015, the Dent Medal is awarded to Professor Marina Frolova-Walker of Clare College, University of Cambridge.
Marina Frolova-Walker was educated at the Moscow Conservatoire from which she graduated with a PhD in 1994. Her first full-time academic appointment was at Goldsmiths College, University of London (1997), followed by lectureships at the Universities of Southampton (1999) and Cambridge (2000) where she is now a Professor of Music History. She has been the recipient of a number of research grants including a Leverhulme Trust Major Research Fellowship (2010-2013) and in 2014 was elected to a Fellowship of the British Academy.
After early work on the symphonies of Schumann and his influence on Tchaikovsky, her work has been concerned with constructions of Russian nationalism including a landmark article in the Cambridge Opera Journal (1997) entitled “On ‘Ruslan’ and Russianness’. Later studies on opera in Russia, including ‘National in Form, Socialist in Content’ (Journal of the American Musicological Society, 51/2, 1998), ‘Grand Opera in Russia: Fragments from an Unwritten History’ (The Cambridge Companion to Grand Opera, CUP, 2003), ‘Russian Opera: Between Modernism and Romanticism’ (The Cambridge Companion to Twentieth-Century Opera, CUP, 2005), ‘The Soviet Opera Project: Ivan Dzerzhinsky vs. Ivan Susanin ’ (Cambridge Opera Journal, 2006) and ‘Opera and Obsolescence in the Russian Culture Wars’ (Opera Quarterly, 2009) are among an impressive gathering of articles and chapters that have done much to reorientate prevailing views of the subject. Alongside her forensic critique of the nature of Russian musical nationalism, Frolova-Walker has also placed Socialist Realism under the microscope in contributions such as ‘The Glib, the Bland, and the Corny: an Aesthetic of Socialist Realism’ (in Music and Dictatorship in Europe and Latin America, eds. R. Illiano and M. Sala, Turnhout: Brepols, 2009). A summation of her views is to be found in the magisterial volume Russian Music and Nationalism: from Glinka to Stalin (New Haven and London: Yale University Press, 2007) succeeded by the trenchant study, Music and Soviet Power, 1917-32 (with Jonathan Walker; Woodbridge: Boydel and Brewer, 2012).
For 2013, the Dent Medal is awarded to Professor Alexander Rehding, Fanny Peabody Professor of Music and Chair of Theory at Harvard University.
His two monographs Hugo Riemann and the Birth of Modern Musical Thought (Cambridge University Press, 2003) and Music and Monumentality (Oxford University Press, 2009) along with the edited volumes Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (with Suzannah Clark; CUP, 2001) and The Oxford Handbook of Neo-Riemannian Music Theory (with Edward Gollin; OUP, 2011) have established Professor Rehding as a leading force in the aesthetics, philosophy and theory of music. His work has broadened almost immeasurably our understanding of how music was perceived in various eras and particularly in the nineteenth century. He has led a number of imaginative projects including the exhibition ‘Sounding China in Enlightenment Europe’ (2010) and has written many distinguished articles on subjects ranging from ancient Egyptian music to enharmonicism in Rameau and Rousseau. His work has been recognized by numerous awards including a John Simon Guggenheim Memorial Foundation Fellowship in 2009; he was the first recipient (in 2001) of the Jerome Roche Prize.
For 2013, the Dent Medal is awarded to Professor Elizabeth Eva Leach of St Hugh’s College and Exeter College, Oxford.
With four books – two monographs and two edited volumes – and a host of distinguished articles, Professor Leach has established herself as one of the foremost authorities on the music and poetry of the fourteenth century. Her most recent monograph, Guillaume de Machaut: Secretary, Poet, Musician (Cornell University Press, 2011), a broad-ranging interdisciplinary study, was awarded the 2012 Phyllis Goodhart Gordan Prize of the Renaissance Society of America. Her edited volume Machaut’s Music: New Interpretations (Boydell and Brewer, 2003) gained her the Sarah Jane Williams Award of the International Machaut Society (2002), and her article ‘Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression’, Music Theory Spectrum, 28/1 (2006), was winner of the Outstanding Publication Award of the Society for Music Theory (US, 2007). From the firm foundation of scholarly endeavour in the fourteenth century, her writing has extended inter alia to later centuries in the articles ‘Unquiet Thoughts: Spenser, Scudamour, and John Dowland’s First Booke of Songes’, Musicology, Medieval to Modern (2012), and ‘Vicars of Wannabe: Authenticity and the Spice Girls’, Popular Music, 21 (2001).
Apart from her remarkable and extensive publication record, Professor Leach has served the scholarly community as co-editor of the journal Plainsong and Medieval Music (CUP) and as chair and council member of the Plainsong and Medieval Music Society. In addition, she was a founder member of the Medieval Song Project (Institute of Musical Research) and is a director of the Digital Image Archive of Medieval Music. Her teaching is characterized by a lively engagement with not just the history and techniques of medieval music, but, as in her research, also broader cultural, historical and philosophical contexts.
A full citation appears in the Journal of the Royal Musical Association, 139(1), pp.229-230.
For 2012, the Dent Medal is awarded to MICHEL DUCHESNEAU, Professeur titulaire en musicologie and director of the Observatoire Interdisciplinaire de Création et de Recherche en Musique (OICRM) at the University of Montreal.
Professor Duchesneau's work ranges widely over French music and culture from the late nineteenth century to the present day. He is author of the monograph L'avant-garde musicale et ses sociétés à Paris de 1871 à 1939 (Sprimont, 1997), co-editor of Musique et modernité en France (Montreal, 2006) and Musique, art et religion dans l'entre-deux-guerres (Lyons, 2009), and has published numerous articles on French music of the early twentieth century. He is also editor of two volumes of writings by Charles Koechlin: Esthétique et langage musical and Musique et société (Sprimont, 2006 and 2009 respectively). As director of OICRM, and dedicated to the study of the development and management of musical culture from the nineteenth century to the present day, he is responsible for a most fascinating research project on the history of music production. In addition, he is co-founder of RIEEC (Réseau International d'étude des écrits de compositeurs – International Network for Studying the Writings of Composers). Recent research projects include a study of the history of musical aesthetics in France between 1900 and 1950.
Professor Duchesneau's scholarly work is complemented by an energetic engagement with the music of today. He was director of the Quebec Contemporary Music Society from 1997 to 2002, editor of the journal Circuit: Musiques contemporaines from 2000 to 2006, and continues his interest in the creation and reception of the musical avant-garde in Quebec with a socio-musicological study of the city's music scene, focusing particularly on conditions for professional young musicians. In pursuit of enrichment of and connectedness among the international musicological community, Professor Duchesneau has promoted numerous distinguished seminars on aspects of Modernism, aesthetics, genre and the role of technology in music.
A full citation appears in the Journal of the Royal Musical Association, 138(1), pp.223-224. The Dent Medal Lecture and medal presentation will take place on Friday, 20 September 2013 during the Association's Annual Conference.
Annegret Fauser (Photograph: Mark W. Derewicz)
For 2011, the Dent Medal is awarded to ANNEGRET FAUSER, who has gained a truly international profile as a scholar with a distinguished record of publications and contributions to conferences in the fields of nineteenth- and twentieth-century music and women’s studies. She holds posts as Professor of Music and Adjunct Professor of Women’s Studies at the University of North Carolina at Chapel Hill. In 2011 she became Editor-in-Chief of the Journal of the American Musicological Society.
Professor Fauser studied musicology, art history and philosophy at the Rheinische Friedrich-Wilhelms-Universität in Bonn (where she received her doctorate in 1992), the Université Paris-Sorbonne and the Ecole Normale Supérieure in Paris. She was chercheur invité at the Maison des Sciences de l’Homme in Paris (1992–3) and held fellowships at the University of Melbourne (2001), the Institute for the Arts and Humanities at UNC (2004) and the Wissenschaftskolleg (Institute for Advanced Study), Berlin (2009–10). Before joining the faculty at UNC in 2001, she taught musicology at the Université François Rabelais in Tours, the Folkwang-Hochschule in Essen, the Humboldt-Universität zu Berlin and City University London.
Her book Der Orchestergesang in Frankreich zwischen 1870 und 1920, published in 1994, was followed by Von Wagner zum wagnérisme: Musik, Literatur, Kunst, Politik, co-edited with Manuela Schwartz (1999); she published Dossier de presse parisienne: Jules Massenet, ‘Esclarmonde’ (1889) in 2001, and a further volume, Dossier de presse: The Parisian Tannhäuser (1861), in 2009. Other important recent publications include her monograph Musical Encounters at the 1889 Paris World's Fair (2005); ‘Music & Identity’ (special issue of the Musical Quarterly, 2006, co-edited with Tamara Levitz); and (co-edited with Mark Everist) Music, Theater, and Cultural Transfer: Paris, 1830–1914 (2009); as well as numerous journal articles and contributions to symposia. She is currently editing the correspondence between Nadia Boulanger and Aaron Copland, and writing a monograph on music in the United States during the Second World War.
A full citation appears in the Journal of the Royal Musical Association, 137(1), pp.193-195. A Study Day in honour of Annegret Fauser on the theme of 'Music and War' took place on 5 September 2012.
For 2010, the Dent medal is awarded to MARTIN STOKES, who is University Lecturer in the Faculty of Music, University of Oxford, and Fellow and Tutor of St John's College. He previously taught at Queen's University, Belfast (1989-1997) and the University of Chicago(1997-2007).
His research areas are primarily in ethnomusicology and the anthropology of music, with particular emphasis on social and cultural theory. He is also an organist and qanun player. Much of his work has involved the study of music of the Middle Eastern and Islamic world. He has recently published The Republic of Love: Transformations of Intimacy in Turkish Popular Music (University of Chicago Press, 2010), and is currently working on an introduction to the music of the Middle East for Prentice Hall, as well as a survey of theoretical developments in ethnomusicology (co-authored with Martin Clayton) for Oxford University Press.
His previous publications include The Arabesk Debate: Music and Musicians in Modern Turkey (1992), Ethnicity, Identity and Music: The Musical Construction of Place (1994), and (co-edited with Philip Bohlman) Celtic Modern: Music Making at the Global Fringe (2004). His article 'Music and the Global Order', Annual Reviews in Anthropology, 33 (2004), was awarded the Jaap Kunst Prize in 2005 by the Society for Ethnomusicology.
A full citation appears in the Journal of the Royal Musical Association, 136(1), pp.201-203. A study day in honor of Martin Stokes on the theme of 'Emotion and Identity in Music' was held on 17 September 2011.
For 2009, the Dent Medal is awarded to W. DEAN SUTCLIFFE, who is Associate Professor of Music at the University of Auckland.
Sutcliffe has produced a remarkably impressive body of published work, including monographs, critical editions, edited volumes, and journal articles, distinguished by an acute analytical insight and elegance of expression that are models of their kind. He has prompted new interest in ideas of dialogue in eighteenth-century instrumental music and his work on texture in Haydn's Piano Trios has prompted a critical re-evaluation of this neglected corpus. He has shed new light on works by Haydn, Mozart, and Beethoven with which we thought we were familiar. His monograph on Domenico Scarlatti's keyboard sonatas (2004) is a major musicological achievement. He has moreover made a leading contribution to the development of eighteenth-century studies as founding editor of the journal Eighteenth-Century Music.
A full citation appears in the Journal of the Royal Musical Association, 135(1), pp.203-204. A study day in honor of Dean Sutcliffe was held on 27 November 2010.
For 2008, the Dent Medal has been awarded to ANSELM GERHARD, who is Professor of Music and Director of the Institut für Musikwissenschaft, University of Bern, Switzerland. Anselm Gerhard is widely acknowledged as one of the most prolific and forward-looking European musicologists of his generation.
Born in 1958 in Heidelberg, he studied Musicology, German and History in Frankfurt am Main, Berlin, Parma and Paris. Following appointments at the Wilhelms-Universität Münster (Westphalia) and Augsburg, he has been since 1994 full Professor of Musicology at the University of Bern. He has also been visiting Professor in Fribourg, Geneva, Pavia and at the Ecole Normale Supérieure, Paris. He has been a prolific contributor to international symposia and has held office in many national and international scholarly bodies, including RISM, the IMS, and the European Science Foundation, as well as numerous journal editorships. His research has focused particularly on the history of music theatre, keyboard music, and aesthetics of music. In addition to these areas he has special interests in history of musicology and in issues of musicological method, and also in problems of so-called ‘performance practice’.
A full citation appears in Journal of the Royal Musical Association, 134(1), pp.161-163. A study day in honour of Anselm Gerhard was held on 28 November 2009.
For 2007, the Dent Medal has been awarded to GEORGINA BORN, who is Professor of Sociology, Anthropology and Music at Cambridge University. Professor Born studied cello and piano at the Royal College of Music, and during the 1980s appeared with numerous experimental music groups, making a number of recordings. She then went on to study anthropology at University College, London, where she was awarded the Ph.D. in 1989. After stints at Brunel University and Goldsmiths’ College, she moved in 1997 to Cambridge, where she was appointed to her present chair in 2006. In addition, she has held several distinguished visiting positions, including Visiting Professorships at the Centre for Critical and Cultural Studies, University of Queensland, and at the Department of Social Anthropology, University of Stockholm. In 2010 she will deliver the Bloch Lectures at the University of California, Berkeley.
Professor Born's areas of specialization are, as one might imagine from her multi-disciplinary background, extraordinarily diverse. At base, she is best described as a cultural ethnographer: someone who uses ethnography to examine many different aspects of cultural production, but who has consistently shown a particular interest in music. This concentration is amply evident in her first book, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (University of California Press, 1995), which was ground-breaking for the manner in which it shone a spotlight on the institutional workings of one of the bastions of the late-modernist musical establishment, while setting this study in dialogue with philosophical debates on modernism, postmodernism and the avant-garde.
At the same time, the book interrogated the claims and the potential of computer music, introducing an abiding concern with the nature and effects of music technologies. In this and other work, Professor Born developed several post-Adornian directions, arguing for comparative analysis of music's mediation, and for the insights to be gained by probing the historical interrelations between art musics and popular and non-Western musics. The latter is a central theme of her next book, Western Music and its Others: Difference, Representation, and Appropriation in Music (University of California Press, 2000, co-edited with David Hesmondhalgh). This collection brings together a challenging series of essays that interrogate, often under the lens of postcolonial history, music's status and its epistemological condition. The volume speaks also to another theme of Professor Born's writings: a concern with the politics of music and culture.
This latter concern is prominent in her third book, which analyses contemporary media policy with a particular focus on the BBC. Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (Secker & Warburg, 2004) is a trenchant critique whose ripples are still being felt both inside and outside the institution (in 2005, for example, she was invited to give evidence to the House of Lords Select Committee on the review of the BBC's Charter).
The future is already rich with new directions. A recent paper for Twentieth-Century Music examines music's links with digital media, while consolidating an account of music's mediation and of its plural ontologies. Currently, Professor Born is involved with a major research initiative on improvisation, in which she leads a group on music and social aesthetics, and has an article entitled ‘The Social and the Aesthetic: For a Post-Bourdieuian Sociology of Culture’ forthcoming in Cultural Sociology. She recently completed a study of interdisciplinarity, including the emerging field of art-science, which has resulted in a series of articles on the distinctive modes and ‘logics’ of interdisciplinarity. It is already clear that her work is of critical importance to all those who wish to think more deeply about the nature of cultural meaning, in particular musical meaning, and about how this meaning is conditioned by cultural institutions, knowledge systems and technologies.
A full citation appears in Journal of the Royal Musical Association, 133(1), pp.156-158.
For 2006, the medal has been awarded to MARY ANN SMART. Smart studied at McGill (BMus, 1985) and McMaster (MA, 1989) Universities, before going to Cornell for her doctorate. In 1994, she became Assistant Professor at the State University of New York at Stony Brook, and in 1996 she moved to the University of California, Berkeley, where she is now Associate Professor.
Broadly speaking, Smart's work falls into two overlapping areas. First, she is one of the leading voices in the study of opera and gender, most notably through her editorship of (and contribution to) the volume Siren Songs: Representations of Gender and Sexuality in Opera (2000), which grew out of a conference that she organised with Elizabeth Hudson in 1995. More recently, she contributed the article on 'Music and Gender' to the Harvard Dictionary of Music (2003). Second, this research intersects with her ongoing exploration of new approaches to nineteenth-century opera, whether through the vocal traces left by singers (explored in articles such as 'The Lost Voice of Rosine Stolz' [Cambridge Opera Journal, 1994] and the chapter on singers at the Paris Opéra in The Cambridge Companion to Grand Opera ) or through the gestural traces still audible in the works of composers such as Auber, Bellini, Meyerbeer, Verdi and Wagner (the subject of her book Mimomania: Music and Gesture in Nineteenth-Century Opera ).
The appearance of this latter work has only confirmed her dominant position in her generation as a scholar of opera; a position underlined by her JAMS article 'In Praise of Convention: Formula and Experiment in Bellini's Self-Borrowings' (2000), her New Grove entries on Bellini and Donizetti, her edition of Donizetti's grand opéra Dom Sébastien, and by her ongoing work on opera and politics in Italy before Verdi. Her selection for this year's Dent Medal comes in recognition of the immense insight and influence of these works and others (not least her unusually perceptive book reviews); but also for the unfailing lucidity and poise of her prose, which has served as a model in areas of research too often dominated by jargon and a lack of attention to well-chosen language.
A full citation appears in Journal of the Royal Musical Association, 132(1), p165.
For 2005 the Dent Medal is awarded to Julian Johnson, St Anne's College, University of Oxford. Johnson's first book, Webern and the Transformation of Nature, made a major contribution to Webern studies by combining deft music analysis in the context of cultural constructions of nature in contemporary Austria. His second book, Who Needs Classical Music?, is a passionate defence of the relevance and explanatory power of traditional musicology's approach to understanding music. Johnson's work aims to explain, through linking its hidden details with its history, its production and the ways in which we respond to it, how music moves us and what it is.
A full citation appears in Journal of the Royal Musical Association, 131(1) p.176.
Previous winners of the Dent Medal (see JRMA for full citations)