The Irene Alm Memorial Prize is awarded annually for a scholarly presentation or lecture-demonstration given by a student at the Society’s annual spring conference. The prize helps subsidize the lodging, conference registration, and transportation costs for the recipient to attend the SSCM conference the following year. A prize for the best student paper was first awarded in 1999. It was named and first given to honor the memory of Alm at the Society’s ninth annual meeting in April 2001.
Prize-winners are chosen by the annual program committees. Eligibility is determined in the autumn screening of all conference proposals. (Those competing must not have attained a doctoral degree by the deadline for submission of proposals.) Advance copies of the final presentation may be requested. At the conference, members of the program committee hear each student’s offering, judging it on delivery, response to questions, and other aspects of presentation as well as on the importance of the research itself. The purpose of the prize is to encourage and reward this essential facet of the musical and academic professions.
The Society invites tax-deductible contributions to the Irene Alm Memorial Prize Fund, which may be sent to the Treasurer of SSCM. The Society is a §501(c)(3) tax-exempt, not-for-profit organization. Checks should be made payable to the Society for Seventeenth-Century Music.
A founding member of the Society and associate professor of music at Rutgers University, Irene Alm died after a brief illness on 25 October 2000. Apart from her numerous contributions to the study of theatrical music in Venice and to dance music in particular, Professor Alm had served on the SSCM program committee for the 1998 conference in Urbana, Illinois and was to be co-chair of the 2002 conference in Princeton, New Jersey. In naming the prize for her, the Society honors her dedication to teaching and her active fostering of graduate students.
Patrick Bonczyk (M.A. candidate, Michigan State University) for “Temple-Musick: Exploring the Musical Metaphor in George Herbert’s The Temple“
Sara Pecknold (Ph.D. student, Catholic University of America) for “‘On Lightest Leaves Do I Fly’: Natality and the Renewal of Identity in Barbara Strozzi’s Sacri musicali affetti (1655)”
Matt Henson (Ph.D. candidate, Florida State University) for “Cruda Amarilli Angelo Notari’s Adaptations of Monteverdi’s Madrigal”
Patrick Wood Uribe (Ph.D. Princeton University, 2011) for “’He plaid on that single Instrument a full Consort’: Thomas Baltzar’s Polyphonic Music for Solo Violin”
Rebekah Ahrendt (Ph.D. candidate, University of California, Berkeley) for “Jean-Jacques Quesnot de la Chenée, entrepreneur d’opéra”
Jed Wentz (Ph.D., Universiteit Leiden, 2010) for “Roxana’s Dance: The Persuasive Footwork of Defoe’s The Fortunaste Mistress“
Yael Sela (St. Hugh’s College, Ph.D. candidate, Oxford University) for “Performing the Virgin(al): Women and Domestic Keyboard Music in Early Modern England”
Valeria De Lucca (Ph.D., Princeton University, 2009) for “Female Patronage in Seventeenth-Century Rome: The Case for Maria Mancini”
Esther Criscuola de Laix (Ph.D., University of California, Berkeley, 2009) for “Culture and Ceremony in the Wedding Motets of Jacob Praetorius”
Paul Schleuse (Ph.D., The Graduate Center, City University of New York, 2005) for “Monteverdi’s Operatic Experiments: Finding Orfeo in the Continuo Madrigals of 1605″
Jonathan B. Gibson (Ph.D., Duke University, 2003) for “The Cries of Nature in Mourning: Temporality and Aesthetics in Marais’s Elegy for Lully”
Arne Spohr (Ph.D., Musikhochschule Köln, 2006) for “The Hamburg Ratsmusik and its Repertoire: Johann Schop’s Erster Theil Newer Paduanen (1633/40)”
Susan Mina Agrawal (Ph.D., Northwestern University, 2005) for “The Musical Ayre as Sanguine-Producing Curative in Seventeenth-Century England”
Stuart Cheney (Ph.D., University of Maryland, College Park, 2002) for “A Newly Discovered Source of French Hunting Horn Signals, ca. 1666″
Mauro Calcagno (Ph.D., Yale University, 2000) for “Signifying Nothing: Debates on the Power of Voice in Seventeenth-Century Italy”