Purpose: To recognize the most distinguished student paper presented at the SEM Annual Meeting. Awarded at each Annual Meeting for the best paper from the previous year’s meeting.
Eligibility: Any student who presents a formal paper at the SEM Annual Meeting shall be eligible for the prize. A student shall be defined as a person pursuing an active course of studies in a degree program. This will include persons who are engaged in writing the doctoral dissertation but not those who are teaching full-time while doing so.
Prize: A cash prize of $200.
Administration: The selection committee shall be chaired by the Member-at-Large (Prizes) and shall include the Chair of the Publications Advisory Committee or a member of that committee designated by the PAC Chair, the Second Vice President, and the previous winner. Entries will be judged solely on the content of the papers, including appropriate figures and examples. The prize may be withheld by decision of the committee. The author of the winning paper is encouraged to submit a revised version to the Editor of Ethnomusicology for consideration for publication.
Application Process: All submissions for the prize must be made in electronic format. Download a copy of the submission form (see below) and enter the information requested. Email a copy of the form and a copy of your paper as Word or PDF attachments to the SEM Business Office at firstname.lastname@example.org. Include your last and first name in the names of the attached files (last_first_xxx). Your paper must not exceed 12 double-spaced pages of text and must be the version that you read at the Annual Meeting. Your paper must also include an additional 1
page of references cited or a bibliography. If you have supplementary audio-visual material, you may email up to 3 files as attachments. AV attachments should be in standard formats and together must total no more than 3 MB. Each file must include your last name and first name in the file name (last_first_xxx). As an alternative to sending AV files, you may provide a web URL with your files.
Application Deadline: Email with attachments must be received by the SEM Business Office at email@example.com no later than November 14, 2016.
Download the Charles Seeger Prize Submission Form
Sweetman, Lauren. "Performing the Prison-Clinic: Kapa Haka and the Redefinition of Maori Forensic Psychiatry."
(Honorable Mention) Qashu, Leila. "Singing Prayers to Resolve Dispute and to Assert Women's Rights: Ateetee, an Arsi Oromo women’s sung dispute resolution ritual in Ethiopia."
Whittaker, Laryssa. "Creating opportunities, developing life skills:
Economic contexts of musical development work in South Africa."
Makers, Global Players: Tabla Design and Construction in an International
Fossum, David C. "Musical Canons in Ethnomusicology: The Case of Turkmen Instrumental Music.”
Appert, Catherine M. "Griot
MCs and Origin Myths: Negotiating
Environments of Displacement in Senegalese Hip Hop."
Lee, Katherine. "P'ungmul,
Politics, and Protest: Drumming During South Korea's Democratization
Katz, Max G. "Introducing
Institutional Communalism: Rupture and Continuity in the Sitar of
(Honorable Mention) Ayyagari, Shalini. "Performing Tradition and Selling Seduction: The Staging of a Hereditary Musician Community
from Rajasthan, India."
Sakakeeny, Matt. "A
Sound-Body Politic: Making Claims on Public Space through
Ingalls, Monique M. "'The
Word Made Digital': The Challenges of New Media to Old Boundaries within
American Evangelical Worship."
(Co-recipient) Birenbaum Quintero, Michael. "Music,
multiculturalism, and ethnogenesis: Blackness and credible identity in
(Co-recipient) Sewald, Ronda. "Back
to the Armchair: Reinstating Sound Recordings as Information Sources in
Gelbart, Petra. "Music
as Territory: The Romani 'National' Anthem, Representation, and Transnational
Jankowsky, Richard C. "Music,
Possession, and the Racialized Body in Tunisia."
Brown, Katherine Butler. "History
and Censorship: Did Aurangzeb Ban Music?"
Ritter, Jonathan. "When
Our People Wept Blood: Carnival Performance and the Politics of Memory in
Post-War Ayacucho, Peru."
Pilzer, Joshua. "Music
and Teleological Judgment: An Example on the Korean DMZ."
Schloss, Joseph. "'It
Just Doesn't Sound Authentic': Live Instrumentation vs. Hip-Hop
McCann, Anthony. "All
That is not Given is Lost: Irish Traditional Music, Copyright, and Common
Miller, Richard C. "The
History of Gagaku and the Idea of Japanese Homogeneity."
Livingston, Tamara. "Music
Revivals: Towards a General Theory."
Byerly, Ingrid Bianca. "The
Music Ndaba: Musical Collaboration as Mirror and Mediator in the South African
Transition from Apartheid to Democracy."
Lausevic, Mirjana. "Cleansing
and Ethnic Labeling of Musical Styles in Bosnia."
Ho, Meilu. "Nobat:
Symbolic Inversion of Kingship and Legitimacy in the Malaysian
Weintraub, Andrew. "The
Interface between Teori (Theory) and Praktek (Practice) in Sundanese
Pillay, Jayendran. "Indian
Music in Indian Schools in South Africa: The Use of Cultural Forms as a
Meintjes, Louis. "Paul
Simon's Graceland, South Africa, and the Mediation of Musical
Sugarman, Jane C. "The
Nightingale and the Partridge: Singing and Gender Among Prespa
Yampolsky, Philip. "Codification
of Improvisation in Central Javanese Gamelan Music."""
Cowdery, James R. "A
Fresh Look at the Concept of Tune Family."
Miller, Geoffrey. "Are
you all unhappy at a twenty dollar bill? An Ethnomusicological Study of an
Auctioneer as Performer: Cal Smith, Pleasant Valley, New
Sutton, Brett. "Shape-Note
Tunebooks and Primitive Hymns."
Licht, Michael S. "Harmonica
Magic: Virtuoso Display in American Folk Music."
Schechter, John M. "The
Inca cantor histórico: A Lexico-Historical Elaboration on Two Cultural
deVale, Sue Carole. "The
Case of the Field Museum Gamelan: Dections in Gamelan Morphology and
19th-Century American Ethnomusicology."
Hoffman, Stanley B. "Epistemology
and Music in Java."
Ellingson-Waugh, Ter. "Outline
for Classifying Musical Notation Systems."
Provine, Jr., Robert C. "The
Treatise on Ceremonial Music (1430) in the Annals of the Korean King Se-Jong."
Martha, Ellen. "The
Social Organization of a Musical Event."