Ams doctoral dissertations in musicology

Through this fellowship, graduate students design their own version of Reasoning and Writing in the College WRT , a theme-based first-year writing course. All instructors accepted into the program will teach one section of WRT in fall and the same course in spring, participate in our training program, and attend the program orientation at the end of August. The minimum commitment for Eastman School applicants is two years; however, successful performance is required for reappointment after the first year.

Compensation packages vary depending on whether graduate students reside in the College or in the Warner School, as well as on individual funding situations. Available Fall Spring The Raymond N. Ball Dissertation Year Fellowship similarly funds students who are completing their dissertations. The University of Rochester awards this fellowship to several outstanding graduate students in the humanities including music , economics, or business administration fields. The Elsa T.

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Information about the annual competition for this fellowship is available in the musicology office. This is a competitive application process that includes funding in three categories: faculty, individual students, and chamber groups. Deadlines for proposals to be reviewed are October 15, February 1, and April 1 of each year. ACLS offers fellowship and grant programs that promote the full spectrum of humanities and humanistic social sciences research and support scholars at the advanced graduate student level through all stages of the academic career. Comprehensive information and eligibility criteria for all programs can be found at www.

Application deadlines vary by program. The American Council of Learned Societies is the leading private institution supporting scholars in the humanities. Grants are considered suitable for post-graduate scholars, professionals, and candidates in the arts to carry out research or study visits of one to three months duration. Fellowships are intended to support a year-long stay. Priority is given to candidates at the graduate level for dissertation-related study or research.

Online application and further ASF Award information available online: www. The ASF also awards fellowships and grants to Scandinavians.


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Intended to increase the presence of minority scholars and teachers in musicology, the Howard Mayer Brown Fellowship supports one year of graduate work for a student at a U. Preference will normally be given to candidates who are citizens or permanent residents of a North American country. It supports outstanding Ph. Chateaubriand fellows are selected through a merit-based competition, through a collaborative process involving expert evaluators in both countries.

A small group of American musicologists, passionate about their own research and devoted to the expansion of the field, formed the nexus of the movement which would transform the role of music study in American higher education for later generations of scholars. In the early decades of the twentieth century, American musicologists depended on European resources, both financial and institutional, for the support of their scholarship.

The Internationale Musik-Gesellschaft served as the international society of the field and produced its primary scholarly journals. The U. When World War One brought the dissolution of the European IMG, however, its American offspring could not survive independently, and all formal organization of musicologists temporarily died out. The music community felt a growing need for an organization devoted specifically to musicalogical research.


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  • By the early s musicology had gained a place in American academics; universities began to offer faculty positions in musicology and to institute programs of musicological training for their students. The scholarly world was ready for the revival of an American society of musicologists. The New York Musicological Society has flourished during the past five years as a small group interested chiefly in the systematic approach to Musicology.

    At a meeting of the executive committee it was unanimously decided: 1 that a broadening of scope to include all subjects of musicological interest is imperative; 2 that to accomplish this it will be necessary to reorganize on a national scale. The group approached Otto Kinkeldey to serve as their first president, and named the organization the American Musicological Society it was briefly an Association rather than a Society. As the second World War sapped the European intellectual sphere of its financial resources and intellectual energies, and as some of the finest European scholars fled to the United States; the time was ripe for American musicologists to step into a leadership role worldwide.

    Indeed, the American group took up the banner with grace. The first such gathering of international scholars of music in America, this congress defined the central role the AMS would play in the decades ahead for musicology worldwide. By all accounts, the congress was a tremendous success, and in fact drew more attention in the national press than musicology conferences today.

    Not only did the congress provide the AMS with international recognition as a leading organization in the field of music scholarship, it also established the validity of the study of New World musical traditions. Over the next decade the Society grew steadily. During the war years, this growth was in part due to the stream of European musicologists who made the United States their home and established themselves in American universities.

    This wave of immigrations invigorated the scholarly community in the United States and broadened the scope of American resources and scholarship. Some of these immigrants were among the most prominent members of the AMS, both in their personal scholarship and in the scope of their vision for the future of musicology as a profession. Edward Lowinsky involved himself with almost every aspect of the society, most significantly the Josquin Festival, but also including the establishment of various awards and the planning of the Kennedy Center Conferences.

    Manfred Bukofzer was a longtime board member, and his legacy lives on in AMS publications which continue to be funded by his bequest.

    The Untapped Doctoral Majority of Potential Public Musicologists

    Dragan Plamenac was also a board member and spent many years working on an AMS publication project, the Ockeghem Volumes. Despite the rapid influx of immigrants, the growth of the Society was limited by the careful restriction of the membership and hence the lack of substantial income from dues.

    The founders of the AMS had initially imagined themselves as a very select group of scholars who had proven themselves through their publications and their reputation in the field. The rather rigorous membership process required perspective members to be nominated by a current member whose nomination was then seconded and then subjected to a vote by the Board. One negative vote was enough to keep a nominee out of membership. By , having realized the limitations this membership policy imposed, the Board established the category of Associate member for those who shared the interests of the society, but did not qualify professionally for membership.

    Along with this new category of members, the AMS also began a campaign to recruit new members. By the membership had grown to , and in the distinction between active and associate members was abolished. By the membership had reached more than 3, By the total number of chapters had grown to eight, including New England, Philadelphia, Southern California, and Northwestern Chapters. One of the most decisive steps for the AMS in the effort to gain legitimacy was the founding of the Journal in Abstracts of papers read at Chapters were published in the Bulletin.

    Other news and information was published in the Newsletter, begun in In , George Dickinson proposed that the Society establish a Journal to supersede these various publications, and by the Journal of the American Musicological Society had been founded. Oliver Strunk served as its first editor. Though the Journal editors were not always effective administrators, they were almost always among the most prominent scholars in the field. The job of editor was both a great honor and an administrative nightmare.

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    Though the Journal brought the Society an influx of institutional memberships, and increased its legitimacy as a scholarly organization, the publication was very expensive and continually plagued with deadline problems. In order to finance the publication the Society was forced to more than double the membership dues.

    The Executive Board constantly struggled with editors, authors, and the William Byrd Press, who published the Journal, to make sure the Journal came out on time. In fact, the Journal quickly gained a reputation for being late sometimes up to a year behind schedule and was a source of embarrassment to some officers.

    Complaints from the membership flooded in during the s. In several instances an editor left office under unpleasant circumstances. Despite these early problems, JAMS is currently received around the world and is recognized as one of the most prestigious journals of music scholarship. Over the years changes in the climate of American higher education have been reflected in the operations of the AMS. During the s the influx of European scholars and the resulting increase in the number and variety of doctorates awarded in the U. At the same time, this rapid growth meant that the parameters of the field and the professional status of its members were in transition.

    By establishing committees to provide guidelines for doctoral programs and to set standards for the profession, the AMS continued to have input in the development of the field. From an early date the AMS realized its responsibility to set high educational standards for students, and to ensure that young graduates found the job opportunities they deserved. Caught between roles as scholars and musicians, musicologists often continued to struggle to find their place in academic communities.

    The AMS constantly discussed and redefined the parameters of the field, and looked towards the future of the profession. Also in the s the ever-tightening job market for academics forced the AMS to rethink their role in providing guidance for young Ph. This situation led to the establishment of the Placement Service, a joint service with the College Music Society which served as a clearing house for jobs and candidates.

    The AMS also established committees on job placement and careers, and published several guides to careers in musicology, in and out of academics. Outside the field of musicology, the AMS played a larger role in monitoring trends in intellectual life in general, and in implementing change in the American University system.

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    In the s as government played a more and more substantial role in funding for the arts and humanities, the AMS was concerned with the establishment and management of such organizations as the National Endowment for the Humanities, and the National Council for the Arts in Education. It fell to scholarly organizations such as the AMS to monitor the methods and means of the NEH and NCAE for supporting music scholarship, both by advising and protesting the actions of these groups.

    In the s and 80s the AMS took a serious step for the advancement of research on American composers with the establishment of their Committee on the Publication of American Music, and the resulting monographic series on American studies in music. In the s and 90s trends in American intellectual life led to changing concerns for the AMS as well.

    Throughout its history, the choices the AMS made in focusing their creative energies and their financial resources helped to shape the development of American musicological publication and research through the twentieth century. Harrison et al. The records of the American Musicological Society were donated to the University of Pennsylvania in , with the understanding that the processing and maintenance of the collection would be the shared responsibility of the Curator of the Music Library and the Curator of Manuscripts.

    While much of the material has a purely administrative interest, the collection as a whole reflects the history of musicology in America through the course of the twentieth century. The names which run through the collection are the eminent music scholars of our age; it was these individuals who shaped the course of musicology in America, both through their scholarship and also through their administrative vision within the AMS. Otto Albrecht was Treasurer and Business Manager.

    Paul Henry Lang served as Treasurer. Because officers of the AMS usually only saw each other twice a year, at the spring board meeting and at the annual meeting, the administration of the AMS took place primarily through correspondence. As a result, AMS correspondence records often provide an incredibly rich and detailed account of the decision-making that went on behind any given course of action in the AMS. On the other hand, because it was left up to the individual officers to send their files to the archives, there are often tremendous gaps in the records.

    Some officers weeded their files significantly before passing them on to a successor. Others discarded the outdated files of a predecessor. It was not until the early 70s that the AMS gave some thought to an ordered preservation of their records. As of the minute books themselves were considered a permanent part of the NYPL collection. The microfilm remains a part of the Penn collection. Certainly some of the material remained in university files of the individual officers. In the Society resolved to move all of the records to a central location.