| Author |
Title |
Institution |
Completed |
Akpakpan. Johnson James
| Contemporary Compositional Approach To The Creation Of Ekpo Spirit-Manifest Music Of The Annang People | DEPARTMENT OF MUSIC, FACULTY OF ARTS NNAMDI AZIKIWE UNIVERSITY, AWKA | December 2011 | Arthurs, Daniel J.
| Reconstructing Tonal Principles in the Music of Brad Mehldau | Indiana University, Bloomington | May 2011 | Austin, Michael L
| The Phenomenological Impact of Interface on the Analysis of Digital Music and Sonic Art | University of Texas at Dallas | June 2011 | Aziz, Andrew I.
| The French Transitional Sonata: Debussy and Ravel | Eastman School of Music, University of Rochester | April 2013 | Balter, Tamara
| A Theory of Irony in Music: Types of Irony in the String Quartets of Haydn and Beethoven.
| Indiana University, Bloomington (Music Theory) | November 2009 | Chor, Ives
| Cognitive Frameworks for the Production of Musical Rhythm | Northwestern University | June 2010 | Cook, Scott A
| Referential Sets, Referential Tonics, and the Analysis of Contemporary Jazz | University of British Columbia | April 2012 | de Clercq, Trevor O.
| Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock Music | Eastman School of Music, University of Rochester | January 2012 | Decker, Gregory J.
| The Language of Baroque Opera: Topic, Structure, and Characterization in Handel's Italian-Language Operas | Florida State University | April 2011 | DeThorne, Jeffrey D.
| ORCHESTRATING ELECTROACOUSTICS: ON THE AESTHETICS OF INSTRUMENTATION, ORCHESTRATION, AND ELECTRONIC MUSIC
| University of Wisconsin-Madison | August 2010 | Fleshner, Nathan E.
| The Musical Psyche: Interactions Between the Theories of Heinrich Schenker and Sigmund Freud | University of Rochester, Eastman School of Music | April 2012 | Flinn, John W.
| Reconstructive Postmodernism, Quotation, and Musical Analysis: A Methodology with Reference to the Third Movement of Luciano Berio’s Sinfonia | University of Cincinnati | May 2011 | Fyr, Kyle R.
| Proportion, Temporality, and Performance Issues in Piano Works of John Adams | Indiana University | July 2011 | Garrison, Rodney
| Schenker's Ausfaltung Unfolded: Notation, Terminology, and Practice | University at Buffalo | December 2011 | Gerlach, Oliver
| Im Labyrinth des Oktōīchos —
Über die Rekonstruktion einer mittelalterlichen Improvisationspraxis in der Musik der Ost- & Westkirche | Humboldt University | July 2006 | Heinzelmann, Sigrun B
| Sonata Form in Ravel's Pre-War Chamber Music | CUNY Graduate Center | February 2008 | Hughes, Bryn
| Harmonic Expectation in Twelve-Bar Blues Progressions | Florida State University | August 2011 | Kahr, Michael
| Aspects of Context and Harmony in the Music of Clare Fischer | University of Sydney | March 2009 | Lavacek, Justin
| Contrapuntal Confrontation and Expressive Signification in the Motets of Machaut | Indiana University | December 2011 | Lilja, Esa
| Theory and Analysis of Classic Heavy Metal Harmony | University of Helsinki | October 2009 | Love, Stefan E
| On Phrase Rhythm in Jazz | University of Rochester | April 2011 | Man-Ching Donald Yu
| Pitch-class Formations in Joseph Schwantner’s Distant Runes and Incantations | Hong Kong Baptist University | October 2010 | Pausina, Melissa A
| "Bartleby": An Intertextual Music Drama. | Temple University | January 2010 | Power, Richard S.
| An Analysis of Transformation Procedures in Gyorgy Ligeti's String Quartet No. 2 | University of Illinois at Urbana-Champaign | July 1995 | Purin, Peter C
| “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS
| The University of Kansas | August 2011 | Richards, Mark C.
| Analyzing Tension and Drama in Beethoven’s First-Movement Sonata Forms | University of Toronto | April 2011 | Samplaski, Arthur G.
| A Comparison of Perceived Chord Similarity and Predictions of Selected Twentieth-Century Chord-Classification Schemes, Using Multidmensional Scaling and Cluster Analysis | Indiana University | April 2000 | Seltzer, Linda, A.
| The Unblinking Eye, Literary Theory in the Analysis of Debussy's Pelleas et Melisande | Princeton University | 0000 | Stover, Chris
| A Theory of Flexible Rhythmic Spaces for Diasporic African Music | University of Washington | December 2009 | Svistoonoff, Katherine A.
| Cosmopolitanism in Two Twentieth-Century Piano Sonatas | University of Houston | January 2011 |