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The Society for Christian Scholarship in Music is an association of scholars interested in exploring the intersections of Christian faith and musical scholarship.

We are an ecumenical association, reflecting the world-wide diversity of Christian traditions, and seeking to learn from scholars outside those traditions. As scholars of Christian convictions, we are dedicated to excellence in all our work as musicologists, theorists, ethnomusicologists and theologians.


06/21/16

SCSM 2017 Annual Meeting: Call for Papers

Society for Christian Scholarship in Music
Annual Meeting
February 9-11, 2017
Scripps College, Claremont, CA

The Society for Christian Scholarship in Music seeks proposals for its upcoming annual meeting, which will take place February 9-11, 2017 at Scripps College in Claremont, CA.

Individual papers, panels, and lecture recitals on any topic related to music and the study of Christianity are welcome. Individual papers are 25 minutes long; panels (with three people) are one and a half hours; and lecture-recitals, one hour. We invite submissions representing a variety of approaches and perspectives, including history, ethnomusicology, theory and analysis, philosophy and theology, liturgy, and critical theory.

SCSM encourages submissions from current graduate students. A $250 prize will be awarded for the best paper presented by a graduate student at the 2017 meeting.

CLICK HERE FOR THE FULL 2017 CFP


The 2016 President’s Address:

Read up on SCSM News in the 2016 President’s Address, delivered at the SCSM Annual Meeting at the Boston University School of Theology, February 11-13, 2016.


The 2016 Graduate Student Prize:

The student paper prize committee, consisting of Robin Wallace, Felicia Sandler, and Cathy Elias, unanimously awards this year’s prize for best student presentation at the SCSM annual meeting to Braxton Shelley’s “Tuning Up: Towards a Gospel Aesthetic.” Shelley’s paper presents a topic that is fresh and interesting to a wide audience, musicians and beyond. Through a close reading of video recordings of a sermon and a gospel song, the author illustrates nicely the interplay between preaching practice, rhetoric, and musical gestures. The paper is engaging, informative, and well researched, yet fits nicely into the format of a conference presentation. Shelley breaks new ground in his understanding of “tuning up” as a collective cultural experience. We look forward eagerly to reading more of his work on this subject.