Jerome Roche Prize recipients
2019: Emily MacGregor, ‘Listening for the Intimsphäre: Recovering Berlin 1933 through Hans Pfitzner’s Symphony in C-sharp Minor’, The Musical Quarterly, 101/1 (2018), 35–75.
The Jerome Roche Prize for 2019 is awarded to Emily MacGregor for her outstanding article ‘Listening for the Intimsphäre: Recovering Berlin 1933 through Hans Pfitzner’s Symphony in C-sharp Minor’, published in The Musical Quarterly, Volume 101, Issue 1 (Spring 2018). Her fine-grained analysis of the cultural and ethical dimensions of the 1933 performance of Pfitzner’s Symphony illuminates a little-understood aspect of early Nazi constructions of the social ‘self’ through the lens of genre and aesthetics.
Emily MacGregor is a Marie Curie Fellow in Music at Royal Holloway, University of London. As part of her fellowship, she spent 2016 to 2018 as a postdoctoral researcher at Harvard University. Her broad research interests centre on music and the politics of space and subjectivity in Germany and North America in the first half of the twentieth century, particularly the early 1930s.
Emily completed her AHRC-funded doctorate in musicology at Oxford University in 2016. From 2012 to 2013 she held a DAAD visiting fellowship at the Freie Universität in Berlin, and in 2014 she was a Kluge Fellow at the Library of Congress.
2018: Sean Curran, ‘Hockets Broken and Integrated in Early Mensural Theory and an Early Motet’, Early Music History, 36 (2017), 31-104.
The Jerome Roche Prize for 2018 is awarded to Sean Curran for his article ‘Hockets Broken and Integrated in Early Mensural Theory and an Early Motet’, Early Music History, 36 (2017), 31-104.
Curran’s article is a detailed, densely argued investigation into the contemporary theoretical meaning of hocket and its particular significance in the context of one thirteenth-century motet. Founded on a carefully constructed case that, in contrast to received opinion, the earliest theorists concerned with hocket viewed it as a brief, single-voice phenomenon, Curran provides a meticulous interpretation of the narrative and structural functioning of a brief hocket in a single piece. Impressive in its range of reference, his article offers a model of philological enquiry and close musical-textual reading, one that, even in such a richly ploughed field, seems sure to stand as a lasting contribution.
Dr Curran is a Research Fellow at Trinity College, Cambridge. His research traverses a wide range of cultural, critical, theoretical and philological perspectives across the late medieval period, and a book entitled Voices from the Archive: Old Music and the Motet ca.1300 is in preparation.
2017: Yvonne Liao, ‘“Die gute Unterhaltungsmusik”: Landscape, Refugee Cafés, and Sounds of “Little Vienna” in Wartime Shanghai’, The Musical Quarterly, 98/4 (2016), 350–94.
The Jerome Roche Prize for 2017 is awarded to Yvonne Liao for her article ‘“Die gute Unterhaltungsmusik”: Landscape, Refugee Cafés, and Sounds of “Little Vienna” in Wartime Shanghai’, The Musical Quarterly, 98/4 (2016), 350–94.
Liao’s article addresses the musical experiences of Jewish refugees within a sophisticated and sensitive analysis of the cultural and political ‘landscapes’ of the Restricted Sector of Japanese-occupied Shanghai in the mid-1940s. The article successfully juggles a wide spectrum of competing and intersecting events and scholarship, including geographical displacement, trauma, Holocaust and migration studies.
Dr Liao is a Leverhulme Early Career Fellow (2017–20) at the University of Oxford. Her fellowship project examines politics of performance and the colonial built environment in the context of China’s treaty ports. To the forthcoming volume Operatic Geographies (edited by Suzanne Aspden), she has contributed an essay on opera concerts and territoriality in British and Japanese Shanghai(s). She will deliver a keynote lecture to the RMA Research Students Conference at the University of Sheffield in January 2019.
2016: Katherine Hambridge, ‘Staging Singing in the Theater of War (Berlin, 1805)’, Journal of the American Musicological Society, 68/1 (2015), 39–97.
The Jerome Roche Prize for 2016 has been awarded to Dr Katherine Hambridge for her article ‘Staging Singing in the Theater of War (Berlin, 1805)’, Journal of the American Musicological Society, 68/1 (2015), 39–97.
Five exceptionally strong nominations were received for this year’s Jerome Roche Prize. Dr Katherine Hambridge’s multi-layered study of public political singing in early nineteenth-century Berlin and its legacy was viewed as outstanding and was accordingly awarded the Prize.
Katherine Hambridge is a Lecturer in Musicology at Durham University. She is a specialist in French and German musical life in the first half of the nineteenth century. She will deliver a keynote lecture to the British Forum for Ethnomusicology / RMA Research Students Conference at Huddersfield University in January 2018.
2015: Kate Guthrie, ‘Propaganda Music in Second World War Britain: John Ireland’s Epic March’, Journal of the Royal Musical Association, 139/1 (Spring, 2014), 137-175.
The Jerome Roche Prize for 2015 has been awarded to Dr Kate Guthrie for her article ‘Propaganda Music in Second World War Britain: John Ireland’s Epic March’, Journal of the Royal Musical Association 139/1 (Spring, 2014). In a very strong field, Dr Guthrie’s article stood out for its richly-textured and lucidly-written assessment of how British musical culture negotiated political imperatives before and during the Second World War.
Kate Guthrie holds a British Academy Postdoctoral Fellowship at the University of Southampton. Previously, she studied for her PhD at King’s College London and undergraduate and M.Phil degrees at the University of Cambridge.
2014: Nanette Nielsen, ‘Ernst Krenek’s “Problem of Freedom” in Jonny spielt auf”, Twentieth-Century Music, 10/1 (2013), 23-57.
The Jerome Roche Prize for 2014 has been awarded to Nanette Nielsen for her article ‘Ernst Krenek’s “Problem of Freedom” in Jonny spielt auf’ (Twentieth-Century Music, 10/1, 2013, 25-57).
This article about Krenek’s avowed attempt to grapple with ‘the problem of freedom’ in his iconic opera, Jonny spielt auf, provides a very rich picture of the historical, political, moral and ethical context in which the composer was working.
Dr Nielsen is Lecturer in Music at the University of Nottingham. She holds a BA in Music and Philosophy from the University of Copenhagen and an MMus and PhD from Royal Holloway, University of London. Her research focuses on music and philosophy, German music, culture and critical thinking during the first half of the twentieth century. Her publications include the jointly-authored volume, with Marcel Cobussen, Music and Ethics (Ashgate, 2012).
2013: Bettina Varwig, ‘Metaphors of Time and Modernity in Bach’, The Journal of Musicology, 29/2 (Spring 2012), 154-90.
The Jerome Roche Prize for 2013 has been awarded to Bettina Varwig for her article ‘Metaphors of Time and Modernity in Bach’ (The Journal of Musicology, 29/2, Spring 2012, 154-90).
The Awards Committee was particularly impressed by a study that was both combative and stimulating as well as rich in its contextual background; clearly this study will have resonance for a broad scholarly community.
Dr Varwig is a Senior Lecturer at King’s College London, where she also took her undergraduate degree. She gained a doctorate from Harvard in 2006 and subsequently held a Fellowship by Examination at Magdalen College, Oxford (2005-8) and a British Academy Fellowship at the University of Cambridge (2008-9). Her published work focuses on aspects of cultural and reception history, in particular relating to the music of Schütz and Bach. In 2011 she published her monograph, Histories of Heinrich Schütz (Cambridge: CUP).
2012: Christopher Chowrimootoo, ‘Bourgeois Opera: Death in Venice and the Aesthetics of Sublimation’, Cambridge Opera Journal, 22/2 (July 2010), 175-216.
The Jerome Roche Prize for 2012 has been awarded to Christopher Chowrimootoo for his article ‘Bourgeois Opera: Death in Venice and the Aesthetics of Sublimation’ (Cambridge Opera Journal, 22 (2010), 175–216).
Chowrimootoo’s article is a wide-ranging and richly textured examination of the original production and reception of the première of Britten’s 1973 opera. More broadly, it reflects on the impact that the opera’s début had on audience and critical response at a problematic time for twentieth-century opera.
Dr Chowrimootoo is a first-class honours graduate in music from Jesus College, Oxford. He went on to achieve distinction in the M.St. in Musicology at Merton College, Oxford, and thereafter gained an MA in Historical Musicology at Harvard University, where he was awarded a Ph.D. in 2012 for his ‘Middlebrow Modernism: Britten’s Operas and the Great Divide’. His publications include articles in Opera Quarterly, the Cambridge Opera Journal and Eighteenth-Century Music. In September 2012 Chowrimootoo became an Early Career Fellow in Opera Studies at Oxford Brookes University.
2011: Benedict Taylor, ‘Cyclic Form, Time, and Memory in Mendelssohn’s A-minor Quartet, Op. 13’, The Musical Quarterly, 93/1 (Spring 2010), 45-89.
The Jerome Roche Prize for 2011 has been awarded to Benedict Taylor for his article ‘Cyclic Form, Time, and Memory in Mendelssohn’s A‐Minor Quartet, Op. 13’, published in The Musical Quarterly, 93/1 (2010), 45–89.
This is an impressive, cogent and elegantly presented analytical demonstration, with implications for our understanding of not only Mendelssohn’s project in his op. 13 (certainly it makes one want to take the score from the shelf and examine the work closely with Taylor’s detailed analysis to hand), but also, importantly, the role of memory in nineteenth‐century instrumental music generally. The literary angle that informs his approach – particularly the Proustian analogy – gives the argument added depth and contributes to its thought‐provoking qualities. The article is a distinguished contribution to its field, shedding a welcome new light on its subject.
2010: David R. M. Irving, ‘Comparative Organography in Early Modern Empires’, Music & Letters, 90/3 (August 2009), 372-398.
The Roche Prize for 2010 has been awarded to David R. M. Irving, for his article ‘Comparative Organography in Early Modern Empires’, Music & Letters 90/3 (2009): 372–398.
This elegantly written article was judged very impressive in its range and command, strong and persuasive in its argument. Its substantial topic brings together many strands and raises important interdisciplinary questions. The multifarious interaction between Europeans and non-Europeans in relation to musical artefacts is considered (and richly exemplified) in the context of travel and exploration, religion, trade and culture in the early modern period, drawing out the implications for the development of comparative ethnology and organography.
2009: Arman Schwartz, ‘Rough Music: Tosca and Verismo Reconsidered’, 19th-Century Music, 31/3 (Spring 2008), 228-44.
For 2009, the Roche Prize has been awarded to Arman Schwartz for his article ‘Rough Music: Tosca and Verismo Reconsidered’ in 19th-Century Music, 31/3, pp.228-44.
The panel found that this article presented a well-expressed, well-structured argument which linked text and context with great aplomb, and included detailed and insightful discussion of the music as well as sophisticated discussion of the opera’s ambivalent appeal and the links to wider twentieth-century issues. Altogether this is an enjoyably readable and accomplished piece.
2008: Roger Moseley, ‘Reforming Johannes: Brahms, Kreisler, and the Piano Trio, op. 8’, Journal of the Royal Musical Association, 132/2 (2007), 252-305.
The Jerome Roche Prize for 2008 has been awarded to Roger Moseley for his article ‘Reforming Johannes: Brahms, Kreisler, and the Piano Trio, op. 8’ Journal of the Royal Musical Association, 132/2 (2007), pp.252-305. The article examines Brahms’s approach to the revision of his own music: the contextual detail is stylishly elaborated, and a fascinating network of references is constructed, skilfully focused to illuminate the music in detail and in depth, and raising many general as well as specific issues.
2007: James Quail Davies, ‘Julia’s Gift: The Social Life of Scorers, ca.1830’, Journal of the Royal Musical Association, 131/2 (2006), 287-309.
For 2007, the Jerome Roche Prize has has been awarded to James Quail Davies for the article ‘Julia’s Gift: The Social Life of Scores, ca. 1830,’ Journal of the Royal Musical Association, 131/2 (2006), 287-309.
In “Julia’s Gift,” Davies concentrates on the musical annual, a genre neglected in previous scholarship. He takes as his starting point an exemplar of The Musical Bijou of 1829 given by Elizabeth Oakley to her 11-year-old daughter, Julia, in the year of its publication. In a deft and frequently beautiful piece of writing, Davies demonstrates an interdisciplinary command rare even in much other avowedly interdisciplinary musicological work. Using recent studies from literature, anthropology and history, he probes the intersection of gift and commodity in this period, arguing for a novel and important vision of early nineteenth-century musical and print culture.