The T. Temple Tuttle Prize
for the best student paper presented at the annual meeting of
The Niagara Chapter, Society for Ethnomusicology
Andrés García Molina (Columbia University) has been selected as the winner of the 2019 T. Temple Tuttle Prize for his paper titled "The Mutual Circulation of Sound and Goods in Havana: On Sound, Circulation, and Architecture."
The T. Temple Tuttle Prize was established in 2001 in memory of Tom Tuttle (Ed.D., Maryland) a founding member of the Niagara Chapter and Professor at Cleveland State University, Coordinator of World Music Studies; Director, Indian Cultural Studies Program, World Musics area studies, mridangam. Read the September 13, 2000 Eulogy at Cleveland State University.
[The Tuttle Prize] is awarded to recognize an outstanding student paper presented at the annual meeting. An ad hoc committee of three faculty readers, who do not have a student in consideration, will be organized at the annual business meeting. Students must submit an electronic form of their paper to the Tuttle Prize Committee for consideration within a week of its presentation. Papers should be no longer than 10-double-spaced pages using 12-point font (not including illustrations, footnotes, or references). Students who have won the prize in the past are no longer eligible. Students accepted as presenters but who do not present at the meeting are ineligible. If a student cannot attend because of difficulty obtaining a visa, the student may present via SKYPE or other similar means and these papers will be considered for the student prize. The charge of the Committee will be to determine if there is a paper deserving the prize within two months following the meeting. The prize is a one-hundred-dollar cash award (voluntarily collected from faculty members of the Chapter), recognition of the prize, and the possibility of the paper being “published” on the Chapter web-site.
T. Temple Tuttle Prize Winners:
2018: Trevor Nelson (Eastman School of Music) "Butterfly in Bombay: Towards a History of Imperial Operatic Culture."
2017: Hicham Chami (Columbia University) "A Tale of Two Protectorates: Cultural Hegemony in Colonial Morocco and Its Impact on Indigenous Musics."
2016: Anaar Desai-Stephens (Cornell University) "'All that Matters is Talent': Indian Musical Discourse in the Neoliberal Cultural Economy" and
Lydia Snyder (Kent State University) "Trance-Forming Music: Healing through Communal Drumming."
2015: Austin T. Richey (Eastman School of Music) "Chimurenga Renaissance: Doubled Doubleness in the Diasporic Music of Tendai Maraire."
2014: Colin McGuire (York University) “Once Upon a Time in China: The Wong Fei-hung Song as a Transnational Anthem.”
2013: Rachel Brashier (Eastman School of Music) “In Gamelan You Have to Become One ‘Feeling’: Sensory Embodiment and Transfer of Musical Knowledge.”
2012: Vanessa Thacker (University of Toronto) “Experiencing the Moment in Song: An Analysis of the Irish Traditional Singing Session.”
2011: Rita diGhent (York University) "Gender Wayang on Piano: How an Expert Solves the Problem."
2010: Rachel Muehrer (York University) “’Ennanga enyumya,’ Playing techniques of the ennanga of Buganda, Uganda.”
2009: Dustin Wiebe (University of Toronto) "Good, Fast, and Cheap: My North American Gamelan Experience."
2008: Kirsten Dyck, (York University) "Navigating Backlash: The Dixie Chicks and the Politics of the Entertainment Media."
2007: Susan M. Taffe (Cornell University) “Music & the Eastern Lenape Struggle for Survival.”
2006: Priwan Nanongkham (Kent State University) "Inside the Piphat Ensemble: Interpretations of Clientship and Class Structure in Thai Society Regarding Thai Classical Music."
2005: Heather MacLachlan (Cornell University) "The Don Dance as an Expression of Karen Nationalism."
2004: Hanita Blair (Syracuse University) “Something to Sing About: Choosing Music for the Jewish High Holydays.”
2003: Jennifer Johnstone (Kent State University) "St. Maron Church: Lebanese-American Identity in Youngstown, Ohio"
2002: Kelly Foreman (Kent State University) "Liminas, Eroticism, and the Socio-Artistic Identities of Japanese Geisha."