Recipients of ‘Music & Letters’ Awards

The Editorial Board has made grants to the following towards costs in connection with the projects indicated: Anastasia Belina-Johnson for the accommodation and travel costs of speakers at the Wagner conference, University of Leeds, May–June, 2013; Chiara Bertoglio for the cost of the flight and the hotel to attend the London International Piano symposium; James Butterworth towards the costs of organizing the ‘Love and Sentimentalism in Popular Music’ conference, Royal Holloway, University of London, June 2013; Mervyn Cooke for the costs of organizing the ‘Britten on Stage and Screen’ conference, University of Nottingham, July 2013; Marie Cornaz for her research trip to Boughton, Northants, to research the Montagu Music Collection; Laura Hamer for the cost of bursaries for students to attend the Eighth Biennial International Conference on Music since 1900, Liverpool Hope University, September 2013; Henry Hope to cover the cost of the reception at the ‘Performing Medieval Text’ conference, Merton College, Oxford, May 2013; David Hunter for his research trip to the Centre for Buckinghamshire Studies, Aylesbury to research the lives of Handel’s contemporary audience; Monique Ingalls for bursaries for students attending the ‘Christian Congregational Music: Local and Global Perspectives’ conference, Ripon College, Cuddesdon, August 2013; David Lindley for the costs of composers and arrangers at the ‘Shakespeare, Music and Performance’, the Globe Theatre, May 2013; Deborah Mawer to cover editorial costs associated with her monograph French Music in Conversation with Jazz: From Debussy to Brubeck; Emily Payne towards the costs of her attendance at the Performance Studies Network International Conference, University of Cambridge, April 2013, to deliver her paper ‘“Engineering” Performance: Musicians’ (De)constructions of Creativity’; Renata Pieragostini to attend the Annual Meeting of the Renaissance Society of America, San Diego, Calif. in April 2013, to present her paper ‘Perspectives on Music from Early Italian Humanism: Coluccio Salutati’; Iain Quinn for obtaining copies of first editions of the anthems of John Goss; Simon Smith for the cost of a lutenist for practice-based research on Samuel Daniel’s closet drama, The Tragedie of Cleopatra; Georgia Volioti to attend the London Piano Symposium to present a paper ‘Musing on the Past: Historical Recordings as Creative Resources for Piano Performance’; Bryan White to attend the conference of the Society for Seventeenth-Century Music, March 2013, at Ohio State University, to deliver his paper ‘Church Musick Vindicated: Purcell’s Te Deum and Jubilate’; Melissa Wong to attend the conference of the International Association for the Study of Popular Music, McMaster University (Hamilton, Ont., Canada), to present her paper ‘Performances on Record, Records in Performance: Historically Informed Performance in Popular Music’.