Dissertation Index


     All Dissertations | See New Dissertations

Author Title Institution Completed
Seltzer, Linda, A.
The Unblinking Eye, Literary Theory in the Analysis of Debussy's Pelleas et MelisandePrinceton University 0000

0000
Solomon, Larry Joseph
Symmetry as a Determinant of Musical CompositionWest Virginia UniversityFebruary 1973
Nelson, Richard B.
Theories of Harmonic Modulation in Selected German Treatises of the Eighteenth CenturyEastman School of MusicDecember 1983
Folio, Cynthia J.
An Analysis and Comparison of Four Compositions by Joseph Schwantner: And the Mountains Rising Nowhere; Wild Angels of the Open Hills; Aftertones of Infinity; and SparrowsEastman School of MusicMay 1985
Jardim, Antonio
Music: another density of real - to a philosophy of a substantive languageConservatorio Brasileiro de MusicaMarch 1988
Essl, Karlheinz
Das Synthese-Denken bei Anton Webern. Studien zur Musikauffassung des spaeten Webern unter besonderen Beruecksichtigung seiner eigenen Analysen zu op. 28 und op. 30. ("Anton Webern's idea of synthesis". Studies on the musical thinking of the late Webern cUniversity of ViennaMay 1989
Boss, Jack F.
An Analogue to Developing Variation in a Late Atonal Song of Arnold SchoenbergYale UniversityMay 1991
Sandell, Gregory, J.
Concurrent Timbres in Orchestration: A Perceptual Study of Factors Determining 'Blend'Northwestern UniversityDecember 1991
Nivans, David B.
Brahms and the Binary Sonata: A Structuralist InterpretationUniversity of California, Los AngelesJanuary 1992
Giovinazzo, Joseph
Timbral Design of Primary Melody in the First Movement of Bartok's Concerto for OrchestraLa Trobe UniversityJune 1992
Palombini, C. V.
Pierre Schaeffer's Typo-Morphology of Sonic ObjectsUniversity of DurhamSeptember 1992
Alegant, Brian
The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical ImplicationsEastman School of MusicOctober 1992
Judd, Cristle Collins
Aspects of Tonal Coherence in the Motets of JosquinKing's College, University of LondonJanuary 1993
Hoffman, Stanley M.
Extended Tonality and Voice Leading in Twelve Songs, Op. 27 by Alexander ZemlinskyBrandeis UniversityFebruary 1993
Clevenger, John R.
The Origins of Debussy's StyleUniversity of RochesterMarch 1993
Demske, Thomas R.
Recognizing Melodic Motion in Musical Scores: Rules and ContextsYale UniversityMarch 1993
Botelho, Mauro
Rhythm, Meter, and Phrase: Temporal Structures in Johann Sebastian Bach's ConcertosUniversity of MichiganMarch 1993
Kurth, Richard B.
Mosaic Isomorphism and Mosaic Polyphony: Balance and Imbalance in Schoenberg's Twelve-tone RhetoricHarvard UniversityApril 1993
Russell, Todd B.
Rhythm in Music: A Comparative Analysis of the Two Versions of Opus 18, No. 1 String Quartet (I, IV) by BeethovenUniversity of KentuckyJuly 1993
Telesco, Paula J.
Enharmonicism in Theory and Practice in 18th-Century MusicThe Ohio State UniversityAugust 1993
Perlman, Marc A.
Unplayed Melodies: Music Theory in Postcolonial JavaWesleyan UniversityAugust 1993
Uno, Yayoi
Avant-garde Music circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and XenakisUniversity of RochesterSeptember 1993
Boyd, James W.
Mahler and Directional TonalityUniversity of MichiganSeptember 1993
Samuels, Robert
Semiotics and Mahler: Analyses of Musical Signification in the Sixth SymphonyCambridge UniversitySeptember 1993
Rupprecht, Philip, E.
Tonal Stratification and Conflict in the Music of Benjamin BrittenYale UniversityNovember 1993
Grossman, E. Lary
Fugal Procedures in the Symphonies of Joseph HaydnNorthwestern UniversityDecember 1993
Castine, Peter
Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal MusicTechnische Universitaet BerlinJanuary 1994
Link, John, F.
Long-Range Polyrhythms in Elliott Carter's Recent MusicCity University of New YorkJanuary 1994
McDonnell, Donald R.
Roger Sessions' Symphony No. 3, First Movement: Form, Hexachordal Polarity, and Harmonic Language (and) Nexus/Dreamscape for Chamber Ensemble. (Original Composition)Brandeis UniversityFebruary 1994
Lorenz, Ralph
Pedagogical Implications of musica practica in Sixteenth-Century WittenbergIndiana UniversityMarch 1994
Blom-Smith, Richard N. W.
A Theory of Accent in Tonal Music with an Assessment of Selected Modern AccentologiesKing's College London, University of LondonApril 1994
Hill, David S.
The Persistence of Memory: Mode, Trope, and Difference in the Passion ChoraleSUNY at Stony BrookApril 1994
Burns, Kristine H.
The History and Development of Algorithms in Music Composition, 1957-93Ball State UniversityApril 1994
McKee, Eric, J.
The Interaction of Tonal Structure and Phrase Structure as an Aspect of Form in Tonal MusicUniversity of MichiganApril 1994
McClatchie, Stephen
Alfred Lorenz as Theorist and AnalystThe University of Western OntarioApril 1994
Simpson, Jasba
Cochlear Modeling of Sensory Dissonance and Chord RootsUniversity Of WaterlooApril 1994
Lai, Eric C.
A Theory of Pitch Organization in the Early Music of Chou Wen-chungIndiana UniversityMay 1994
Riddick, Frank C.
An Analytical Study of Zemlinsky's Second String QuartetUniversity of Colorado, BoulderMay 1994
Novak, John, K.
The Programmatic Orchestral Works of Leos Janacek: Their Style And Their Musical and Extramusical ContentThe University of Texas at AustinMay 1994
Taylor, Stephen Andrew
The Lamento Motif: Metamorphosis in Ligeti's Late StyleCornell UniversityMay 1994
Raickovich, Milos
Einstein on the Beach" by Philip Glass: A Musical AnalysisCity University of New YorkMay 1994
Harper, Steven A.
Minimal Interval Content DescriptionsUniversity of Texas at AustinMay 1994
Harley, Maria, A.
Space and spatialization in contemporary music: History and analysis, ideas and implementationsMcGill UniversityJune 1994
Doerksen, John F.
A Theory of Set-class Salience for Post-tonal Music, with Analyses of Selected Lieder by Anton WebernUniversity of Western OntarioJune 1994
Sundin, Nils-Goran
Aesthetic Criteria for Musical Interpretation: A Study of the Contemporary Performance of Western Notated Instrumental Music after 1750University of Jyvaskyla, FinlandAugust 1994
Krumbholz, Jay
Friedrich Wilhelm Marpurg's Abhandlung von der FugeUniversity of RochesterAugust 1994
Benoit, John R.
An Alternative Model of Fundamental Structure in Selected Lieder by Franz SchubertThe University of Texas at AustinAugust 1994
Wile, Kip, D.
A Study of Collection in Neocentric MusicUniversity of ChicagoAugust 1994
Rust, Douglas, M.
A Theory of Form for Lutoslawski's Late Symphonic WorksYale UniversitySeptember 1994
Tong, Chee-yee, J.
Separate Discourses: A Study of Performance and AnalysisUniversity of SouthamptonOctober 1994
Johnson, Russell W.
Essais sur les Principes de l'Harmonie by Jean-Adam Serre: An Annotated TranslationFlorida State UniversityNovember 1994
Castren, Marcus
RECREL: A Similarity Measure for Set-ClassesSibelius AcademyDecember 1994
Wilkinson, Carlton J.
Symphony in Five Movements: A Presentation and Analytical Discussion of a New Work in a Symphonic FormRutgers, The State University of New JerseyJanuary 1995
Carter, Chandler
The Progress in "The Rake's" ReturnThe City University of New YorkJanuary 1995
Gloag, Kenneth
Structure, Syntax and Style in the Music of StravinskyUniversity of ExeterFebruary 1995
Nelson, Mark, D
Quieting the Mind, Manifesting Mind: The Zen Buddhist Roots of John Cage's Early Chance-Determined and Indeterminate CompositionsPrinceton UniversityFebruary 1995
Douw, Andre, M.
The Construction of Order and Direction in Igor Stravinsky's In Memoriam Dylan Thomas, Canticum Sacrum, and ThreniUtrecht UniversityMarch 1995
Lipscomb, Scott D.
Cognition of musical and visual accent structure alignment in film and animationUniversity of California, Los AngelesMarch 1995
McCallum, Peter, H.J.
The Analytical Significance of Beethoven's Sketches for the String Quartet in F major, opus 135University of SydneyMarch 1995
Powles, Jonathan C.
Continuity and Discontinuity in the Music of Stravinsky: Analysis, Theory and Meta-TheoryUniversity of OxfordMarch 1995
Lippus, Urve
Linear Musical ThinkingUniversity of HelsinkiApril 1995
Burton, Deborah, E.
An Analysis of Puccini's Tosca: a heuristic approach to the unifying elements of the operaUniversity of MichiganMay 1995
Rosenhaus, Steven L.
Harmonic Motion in George Perle's Wind Quintet No.4New York UniversityMay 1995
Klein, Michael
A Theoretical Study of the Late Music of Witold Lutoslawski: New Interactions of Pitch, Rhythm, and FormSUNY BuffaloMay 1995
Korstvedt, Benjamin Marcus
The First Edition of Anton Bruckner's Fourth Symphony: Authorship, Production and ReceptionUniversity of PennsylvaniaMay 1995
Murphy, Paul T.
The Thoroughbass Theory of Jose de Torres y Martinez Bravo with an Annotated Translation of Reglas Generales (1736)The University of Texas at AustinMay 1995
Djordjevic, Michael, L.
Discrete Tone Relations Determined by the Hearing Phenomenon within Five-Dimensional Sound-Musical ContinuumRadio Belgrade, Hilandarska 2, 11000 Belgrade, Serbia, YUJune 1995
Paget, Laurie
The Madrigals of Marc'Antonio IngegneriUniversity of LondonJune 1995
Sheinberg, Ester
The Semantics Of Irony In ShostakovichUniversity Of Edinburgh, ScotlandJune 1995
Fung, Eric W.M.
The Performance of Chopin's First Movement of Piano Sonata in B Minor, op. 58: A Schenkerian ApproachThe Chinese University of Hong KongJune 1995
Barker, Naomi Joy
Analytical Issues in the Toccatas of Girolamo FrescobaldiUniversity of LondonJuly 1995
Wilde, Howard
Towards a New Theory of Voice-Leading Structure in Sixteenth-Century PolyphonyUniversity of LondonJuly 1995
Noll, Thomas
Morphologische Grundlagen der abendlaendischen Harmonik (Morphological Foundations of Occidental Harmony)Technical University of BerlinJuly 1995
Power, Richard S.
An Analysis of Transformation Procedures in Gyorgy Ligeti's String Quartet No. 2University of Illinois at Urbana-ChampaignJuly 1995
Tjoeme, Berit K.
The Articulation of Sonata Form in Atonal Works by Fartein Valen. Analyses of his Violin Concerto, Op. 37 and Symphony No. 3, Op. 41.University of OsloAugust 1995
Wiering, Frans
The Language of the Modes. Studies in the History of Polyphonic ModalityUniversity of AmsterdamAugust 1995
Hafner, Everett
Time DividedUniversity of Massachusetts at AmherstAugust 1995
Tucker, Gary R.
Tonality and Atonality in Alban Berg's Four Songs, Op. 2University of Western OntarioAugust 1995
Windsor, Luke W.
A Perceptual Approach to the Description and Analysis of Acousmatic MusicCity University, LondonSeptember 1995
Kwan, Kenneth
Compositional Design in Recent Works of Chou Wen ChungSUNY BuffaloSeptember 1995
O Maidin, Donncha Sean
A Programmer's Environment for Music AnalysisNational University of Ireland at University College CorkOctober 1995
Roller, Jonathan B
An Analysis of Selected Movements from the Symphonies of Charles Ives Using Linear and Set Theoretical Analytical ModelsUniversity of KentuckyOctober 1995
Coenen, Alcedo, E.
Meta-Plus: Stockhausen's Plus-Minus computerized and analyzedUniversity of AmsterdamNovember 1995
Scotto, Ciro, G.
Can Non-Tonal Systems Support Music as Richly as Tonal Systems?University of WashingtonDecember 1995
Waters, William J.
A Study of Temporal Change in the Recorded Performances of Igor Stravinsky's, `The Rite of Spring'Florida State UniversityDecember 1995
Mooney, Kevin
The Table of Relations and Music Psychology in Hugo Riemann's Harmonic TheoryColumbia UniversityDecember 1995
Moreno, Enrique I.
Embedding Equal Pitch Spaces and The Question Of ExpandedStanford UniversityDecember 1995
Grove, Paul R.
Doctrine of the Canon: An Annotated Translation of the Second Counterpoint Book of Sergei Ivanovich TaneevUniversity of ArizonaJanuary 1996
Squibbs, Ronald, J.
Analytical Issues in Recent Instrumental Works of Iannis XenakisYale UniversityMarch 1996
Thomas, Margaret E.
Conlon Nancarrow's 'Temporal dissonance': Rhythmic and Textural Stratification in the Studies for Player PianoYale UniversityMarch 1996
Laurson, Mikael
"PATCHWORK: A Visual Programming Language and some Musical Applications"Sibelius AcademyApril 1996
Morse, Michael William
The Tune in Jazz as a Social Process--Prolegomena to a Sociology of MusicYork UniversityApril 1996
Guigue, Didier
Une Étude "pour les Sonorités Opposées": Pour une analyse "orientée objets" de l'oeuvre pour piano de Debussy et de la musique du 20è siècleEcole des Hautes Etudes en Sciences Sociales, ParisApril 1996
Buhler, James
Informal Music Analysis: A Critique of Formalism, Semiology, and Narratology As Discourses on MusicUniversity of PennsylvaniaMay 1996
Richardson, Mark D.
Igor Stravinsky\'s Agon (1953-57): Pitch-Related Processes in the Serial Movements and Rhythm in the Named Dance Movements Described in De Lauze\'s Apologie de la Danse (1623)Florida State UniversityMay 1996
Leinberger, Charles, F.
"An Austrian in Hollywood: Leitmotifs and Thematic Transformation in Max Steiner's Film Score 'Now, Voyager'"University of ArizonaMay 1996
Lapidaki, Eleni
Consistency of Tempo Judgments as a Measure of Time Experience in Music ListeningNorthwestern University, School of MusicJune 1996
Hansen, Thomas Holme
From Mode to Key. An Investigation of European Modal/Tonal Theories in the Seventeenth Century [in Danish]University of Aarhus (Denmark)June 1996
Cavanagh, Lynn, M.
Tonal Multiplicity in Schoenberg's First String Quartet, Op. 7The University of British ColumbiaJune 1996
Bauer, Amy, M
Compositional Process and Parody in the Music of Gyorgy LigetiYale UniversityAugust 1996
Cahn, Steven J.
Variations in Manifold Time: Historical Consciousness in the Music and Writings of Arnold SchoenbergSUNY at Stony BrookAugust 1996
Adlington, Robert C.
Temporality in post-tonal musicUniversity of SussexSeptember 1996
McGinness, John, R.
"Playing with Debussy's Jeux: Music and Modernism"University of California, Santa BarbaraSeptember 1996
Rivest, Johanne
Le Concert for Piano and Orchestra de John Cage ou les limites de l'indetermination ("John Cage's Concert for Piano and Orchestra: the limits of indeterminacy")Universite de MontrealSeptember 1996
Walker, Jonathan
The Work-Concept in Music and Musicology: A Philosophical Study." (provisional title) Queen's University Belfast, School of Music, 1996Queen's University BelfastSeptember 1996
Foulkes-Levy, Laurdella
A Synthesis of Recent Theories of Tonal Melody, Contour, and the Diatonic Scale: Implications for Aural Perception and CognitionSUNY BuffaloSeptember 1996
Kim, Jung-Jin
A Barthesian Analysis of Britten's The Holy Sonnets of John Donne, Op. 35University of Wisconsin-MadisonDecember 1996
Collaros, Pandel, L.
Quanti-MAS: A Quantitative System of Melodic AnalysisOhio State UniversityDecember 1996
Leydon, Rebecca V.
Narrative Strategies and Debussy's Late StyleMcGill UniversityDecember 1996
Wang, Yuhwen
The Value of Values: Value Judgment in Edward T. Cone's Music AnalysesColumbia UniversityDecember 1996
Hussey, William Gregory
Compositional Modeling and Quotation in the Works of Johannes Brahms: An Application of Harold Bloom's Theory of Influence to MusicUniversity of Texas at AustinDecember 1996
Leinberger, Charles F.
An Austrian in Hollywood: Leitmotifs, Thematic Transformation & Key Relationships in Max Steiner\'s 1942 Film Score, Now, VoyagerThe University of ArizonaDecember 1996
Waters, Keith, J.
Rhythmic and Contrapuntal Structures in the Music of Arthur HoneggerEastman School of MusicJanuary 1997
Wiens, Carl K.
Igor Stravinsky and AgonUniversity of MichiganJanuary 1997
Mengozzi, Stefano
Between Humanistic Ideals and Scientific Thought in Glareanus's Dodecachordon
University of ChicagoMarch 1997
O'Donnell, Shaugn J.
Transformational Voice Leading in Atonal MusicCity University of New YorkMarch 1997
Cramer, Alfred W.
Music for the Future: Sounds of Early Twentieth-Century Psychology and Language in Works of Schoenberg, Webern, and Berg, 1908 to the First World WarUniversity of PennsylvaniaApril 1997
Dogantan, Mine
Mathis Lussy's Theory of Rhythm as a Basis for a Theory of Expressive PerformanceColumbia University, New YorkMay 1997
Igoudin, Lane
Impact of MIDI on Electroacoustic Art MusicStanford UniversityJune 1997
Dudeque, Norton E.
Tonal Harmony and the Concept of Monotonality in the Writings of Arnold SchoenbergUniversidade de Sao PauloJune 1997
Gonzales-Lizausaba, Oswaldo
A Formalized Analysis of Luciano Berio's Erdenklavier for Piano Solo: An Undulatory ApproachEcole des Hautes Etudes en Sciences Sociales, IRCAM, CNRS (Paris)June 1997
Sachania, Millan
The Arrangements of Leopold Godowsky: An Aesthetic, Historical, and Analytical StudyUniversity of Cambridge, EnglandJuly 1997
Gadd, Robin N.
Theorizing Musical StyleUniversity of SouthamptonJuly 1997
Longo, Lauren, M.
Pietro Gianotti's Le Guide du compositeur: A Reworking of Rameau's "L'Art de la basse fondamentale"--An Annotated Translation and Critical Edition of Part ICity University of New YorkJuly 1997
Konov Yavor S.
The first treatise of harpsichord "Les Principes du Clavecin" by Saint Lambert (Paris, M. DCCII)State Academy of MusicSeptember 1997
Buchler, Michael H.
Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class SimilarityEastman School of MusicOctober 1997
Nicholson, G. Gordon
The Experience of Successful Contemporary Classical Musical Composition for Non-Computer-Assisted Performance: A Qualitative StudySaybrook Institute, San Francisco, CANovember 1997
Danby, Judd
Array and Superarray Structure and Projection in Milton Babbitt's recent Orchestral MusicUniversity of Illinois at Urbana-ChampaignNovember 1997
Mak, Su Yin.
Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz SchubertEastman School of MusicDecember 1997
Spicker, Volker
New Piano ImprovisationUniversity of Giessen, GermanyDecember 1997
Antonio Jardim
Music: vigency of poetical thinkingUFRJ Doctor in PoeticsDecember 1997
Hoffmann, Peter
Music Out of Nothing? The Dynamic Stochastic Synthesis: a Rigorous Approach to Algorithmic Composition by Iannis XenakisTechnische Universitaet BerlinJanuary 1998
Carey, Norman, A
Distribution Modulo 1 and Musical ScalesUniversity of RochesterFebruary 1998
Biamonte, Nicole V
The Modes in Romantic MusicYale UniversityMarch 1998
Chang, Sangtae
Boulez's Sonatine and the Genesis of his Twelve-tone PracticeThe University of North TexasMarch 1998
Fiore, Carlo
I mottetti di Josquin Desprez: interpretazione attraverso l'analisiUniversity of Bologna, Dipartimento di Musica e SpettacoloApril 1998
Vachon, Pierre
Study of titles in the Piano Works of Robert Schumann, their function and meaningUniversite de MontrealMay 1998
Jacobus-Freund, Suzanne A.
The Art of Development: Development and the Development section Seen Through the Eyes of Theorists, ca. 1775-1830Yale UniversityMay 1998
Luchese, Diane
Olivier Messiaen's Slow Music: Glimpses of Eternity in TimeNorthwestern UniversityMay 1998
Bell, Vicki P.
Shaker Music Theory: The Nineteenth-Century Treatises of Isaac Newton Youngs and Russel HaskellUniversity of KentuckyMay 1998
Nelson, Thomas K.
The Fantasy of Absolute MusicUniversity of MinnesotaJune 1998
Vlagopoulos Panos
Le noble rhetorique: Mental Models in the Song Production of Guillaume de MachautIonion State UniversityJune 1998
Weisser, Benedict J.
Notational Practice in Contemporary Music: A Critique of Three Compositional Models (Luciano Berio, John Cage, and Brian Ferneyhough)The City University of New YorkJuly 1998
Paley, Elizabeth S.
Narratives of 'Incidental' Music in German Romantic TheaterUniversity of Wisconsin-MadisonJuly 1998
Anson-Cartwright, Mark
The Development Section in Haydn's Late Instrumental WorksCity University of New YorkAugust 1998
Vives, Thomas E.
The Effect of Timbre on the Chord Identification Accuracy of Sophomore-Level College Music Theory StudentsUniversity of FloridaAugust 1998
Saunders, Michael, D.
A Computer-based Notation for the Process of Musical CompositionUniversity of Wales, CardiffSeptember 1998
Derkert, Jacob
Tonalitet och harmonisk artikulation i Claude Debussys verk. Om reception, armonikteori och analysUniversity of StockholmOctober 1998
Quaglia, Bruce, W.
Compositional Practice and Analytic Technique; Schoenberg’s Atonal Works: Reconciling Approaches to Sets, Lines and Developing VariationUniversity of UtahOctober 1998
Pacun, David E.
Large-scale Form in Selected Variation Sets of Johannes BrahmsUniversity of ChicagoDecember 1998
Buehrer, Theodore E.
An Alternative Pedagogical Paradigm for Aural Skills: An Examination of Constructivist Learning Theory and its Potential for Implementation into Aural Skills CurriculaIndiana UniversityDecember 1998
Dodds, Michael R.
The Baroque Church Tones in Theory and PracticeUniversity of RochesterJanuary 1999
Foley, Gretchen
Pitch and Interval Structures in George Perle's Theory of Twelve-Tone TonalityUniversity of Western OntarioJanuary 1999
Rubin, Anna, I.
Forêt Profonde: The Narrative, Sonic and Reception Design of Francis Dhomont's Forêt ProfondePrinceton UniversityJanuary 1999
Pye, Richard, C.
The Music of William SchumanUniversity of NewcastleJanuary 1999
Leong, Daphne
A Theory of Time-Spaces for the Analysis of Twentieth-Century Music: Applications to the Music of Bela BartokEastman School of MusicApril 1999
Brown, Stephen C.
Dual Interval Space in Twentieth-Century MusicYale UniversityMay 1999
Santa, Matthew S.
Studies in Post-Tonal Diatonicism: A Mod7 PerspectiveCity University of New YorkMay 1999
Wacker, Lori J.
Rhythmic and motivic procedures in selected late works of S.C. Eckhardt-GramatteIndiana UniversityMay 1999
Varney, John Charles
Colombian Bambuco: The Evolution of a National Music StyleGriffith UniversityJune 1999
Cox, Arnie W.
The Metaphoric Logic of Musical Motion and SpaceUniversity of OregonJune 1999
Steffen, Ralph Martin
Metalogik: The Music Theory of Walter HarburgerUniversity of California, Santa BarbaraJune 1999
Lemieux, Glenn C.
"Music in Twelve Parts" by Philip Glass: Reconstruction, Construction and DeconstructionUniversity of IowaJune 1999
Robison, Brian Carl
Carmen arcadiae mechanicae perpetuum: Toward a methodology for analyzing Harrison Birtwistle\'s music since 1977Cornell UniversityAugust 1999
MacKay, James S.
Motivic Structure and Tonal Organization in Selected Motets of William ByrdMcGill UniversityAugust 1999
Van Colle, Sue, J
Music therapy process with cerebral palsied children: connections with psychoanalytic models, particularly that of WinnicottUniversity of Reading, Department of MusicOctober 1999
Karamahmutoglu, Gulay
Nr:1637 Hamparsum Notation Manuscripts at Istanbul Ataturk LibraryITU Institute of Social ScienceDecember 1999
Turner, Mitchell M.
Toward a General Theory of Pitch Structure: Unity Between Horizontal and Vertical Pitch-Class SetsUniversity of GeorgiaDecember 1999
Capuzzo, Guy
Variety Within Unity: Expressive Ends and their Technical Means in the Music of Elliott Carter, 1983-1994Eastman School of Music, University of RochesterDecember 1999
Boland, Marguerite M
The All-Trichord Hexachord: Compositional Strategies in Elliott Carter's "Con Leggerezza" and "Gra".La Trobe University, Melbourne, AustraliaDecember 1999
Cotner, John S.
Archetypes of Progressive Rock, ca. 1966-1973University of Wisconsin-MadisonDecember 1999
Fankhauser, Gabe
Cadential Intervention and Tonal Expansion in Select Works of Shostakovich
Florida State UniversityDecember 1999
Crownfield, Elizabeth E.
The Intellectual Backgrounds of Morley's Plaine and Easie IntroductionNew York UniversityJanuary 2000
Cutler, Timothy S.
Orchestration and the Analysis of Tonal Music: Interaction between Orchestration and Other Musical Parameters in Selected Symphonic Compositions, c. 1785-1835Yale UniversityMarch 2000
Herlin, Thomas R.
Carl Ruggles and the Viennese Tradition: A Comparative AnalysisUniversity of Illinois at Urbana-ChampaignApril 2000
Rifkin, Deborah
Tonal Coherence in Prokofiev's Music: A Study of the Interrelationships of Structure, Motives, and DesignEastman School of MusicApril 2000
Romig, James
Twelve-Tone Rhythmic Structure and its Application to Form: Time-Point Nesting and Rotation in 'Spin'Rutgers UniversityApril 2000
Samplaski, Arthur G.
A Comparison of Perceived Chord Similarity and Predictions of Selected Twentieth-Century Chord-Classification Schemes, Using Multidmensional Scaling and Cluster AnalysisIndiana UniversityApril 2000
Laine, Pauli A.
A Method for Musical Motion PatternsUniversity of HelsinkiApril 2000
Butterfield, Matthew W.
Jazz Analysis and the Production of Musical Community: A Situational PerspectiveUniversity of PennsylvaniaMay 2000
Cornicello, Anthony M.
Timbral Organization in Tristan Murail's "Désintégrations" and "Rituals"Brandeis UniversityMay 2000
Zamzow, Beth Ann
The Influence of the Liturgy on the Fifteenth-Century English CarolsThe University of IowaMay 2000
Edith, Zack
Carmen and Turandot: femme fatale to femme creatrice in operaBar-Ilan University, IsraelJune 2000
Campbell, Edward
Boulez and Expression: A Deleuzoguattarian ApproachUniversity of EdinburghJune 2000
Gollin, Edward H.
Representations of Space and Conceptions of Distance in Transformational Music TheoriesHarvard UniversityJune 2000
Riley, Matthew J
Attentive Listening: The Concept of Aufmerksamkeit and its Significance in German Musical Thought, 1770-1790University of LondonJune 2000
Rogers, Nancy M.
The Role of Verbal Encoding in Memory for Musical Timbre and Pitch PatternsUniversity of RochesterJuly 2000
Hodson, Robert D.
Interaction and Improvisation: Group Interplay in Jazz PerformanceUniversity of Wisconsin--MadisonAugust 2000
Gosman, Alan R.
Compositional Approaches to Canons from Ockeghem to BrahmsHarvard UniversityAugust 2000
Cuciurean, John D.
A Theory of Pitch, Rhythm, and Intertextual Allusion for the Late Music of György LigetiState University of New York at BuffaloAugust 2000
Follet, Diane W.
Echo - A Chamber Opera in One Act: The Woman's Voice in the Twentieth CenturyUniversity of Northern ColoradoAugust 2000
Kosovsky, Robert
Bernard Herrmann's Radio Music for the Columbia WorkshopGraduate Center, the City University of New YorkSeptember 2000
Harris, Joseph H.
Harmony in Olivier Messiaen's Eclairs sur l'Au-DelaUniversity of IowaSeptember 2000
Brover-Lubovsky, Bella
Vivaldi's Harmony: Practice and TheoryHebrew University of Jerusalem, IsraelOctober 2000
Lima, Paulo C.
Surface and Structure in the Music of Ernst Widmer: Octatonic Compositional StrategiesUniversidade de São Paulo (USP - Brasil)October 2000
Lowe, Bethany L.
Performance, Analysis, and Interpretation in Sibelius's Fifth SymphonyUniversity of SouthamptonNovember 2000
Burkett, Lyn Ellen Thornblad
Tensile Involvement: Counterpoint and Compositional Pedagogy in the Work of Seeger, Hindemith, and KrenekIndiana UniversityApril 2001
Slottow, Stephen P.
A Vast Simplicity: Pitch Organization in the works of Carl RugglesGraduate Center, City University of New YorkApril 2001
Rothstein, Evan J.
The Tradition of Developing Variation and the Problem of ‘Folkloristic’ Music in Ives’s First Violin SonataIndiana UniversityMay 2001
Bryden, Kristy A.
Musical Conclusions: Exploring Closural Processes in Five Late Twentieth-Century Chamber WorksUniversity of Wisconsin-MadisonMay 2001
Linklater, Mary L.
From Procedure to Technique: Canonic Works of the Fifteenth CenturyUniversity of RochesterMay 2001
Hunt, Graham G.
\"Ever New Formal Structures\": The Evolution of the Dialogue-Scene in Wagner\'s LohengrinDuke UniversityMay 2001
Bribitzer-Stull, Matthew, P.
Thematic Development and Dramatic Association in Wagner's Der Ring des NibelungenEastman School of MusicJuly 2001
Brass, Christophe
La basse fondamentale dans le Clavier bien tempéré de J. S. BachUniversité Strasbourg II (= Université Marc Bloch)September 2001
Konstantinou, Elena
Nikos Skalkottas: The Piano MusicUniversity of Reading, Reading, U.K.October 2001
Kuusi, Tuire
Set-Class and Chord: Examining Connection between Theoretical Resemblance and Perceived ClosenessSibelius AcademyNovember 2001
Goldenberg, Yosef
Prolongation of Seventh Chords in Tonal MusicHebrew University, JerusalemDecember 2001
Spicer, Mark
British Pop-Rock Music in the Post-Beatles Era: Three Analytical StudiesYale UniversityDecember 2001
Spiegelberg, Scott C.
The Psychoacoustics of Musical ArticulationEastman School of MusicJanuary 2002
Wright, James K.
Schoenberg, Wittgenstein, and the Vienna Circle: Epistemological Meta-Themes in Harmonic Theory, Aesthetics, and Logical PositivismMcGill UniversityFebruary 2002
Beaudoin, Paul E
Rhetoric as a Heuristic in the First Movement of Beethoven's Third Sonata for Violoncello and Piano, op. 69Brandeis UniversityFebruary 2002
Berry, David Carson
Stravinsky's "Skeletons": Reconnoitering the Evolutionary Paths from Variation Sets to SerialismYale UniversityMarch 2002
Tsougras, Costas, F
Generative Theory of Tonal Music and Modality - Research based on the analysis of "44 Greek miniatures" by Yannis ConstantinidisAristotle University of ThessalonikiMarch 2002
Dudeque, Norton E.
Music Theory and Analysis in the Writings of Arnold Schoenberg (1874-1951)University of ReadingApril 2002
Kochavi, Jonathan, H.
Contextually Defined Musical TransformationsSUNY BuffaloApril 2002
Chong, Eddy K. M.
Extending Schenker’s Neue musikalische Theorien und Phantasien: Towards a SchenkerianUniversity of Rochester, Eastman School of MusicMay 2002
Hook, Julian L.
Uniform Triadic TransformationsIndiana UniversityMay 2002
Scrivener, Julie A.
Representations of Time and Space in the Player Piano Studies of Conlon NancarrowMichigan State UniversityMay 2002
Johnson, Shersten R.
Hearing the Unvoiceable: Writer's Block in Benjamin Britten's Death in VeniceUniversity of Wisconsin--MadisonAugust 2002
Polyvios, Androutsos
Development and Experimental Implementation of a Model of Teaching the History of Music in Secondary EducationAristotle University of ThessalonikiDecember 2002
Van Colle, S. J.
Music therapy process with young people who have severe and multiple disabilitiesUniversity of ReadingJanuary 2003
Fancher, Joseph E.
Pitch Organization in the Turangalîla-Symphonie of Olivier MessiaenUniversity of OregonMarch 2003
Lopes, Eduardo
Just In Time: towards a theory of rhythm and metreUniversity of SouthamptonMarch 2003
BaileyShea, Matthew L.
The Wagnerian Satz: The Rhetoric of the Sentence in Wagner's Post-Lohengrin OperasYale UniversityMay 2003
Julien, Patricia A.
The Structural Function of Harmonic Relations in Wayne Shorter's Early Compositions: 1959-1963University of MarylandMay 2003
Dolenko, Elena
Schoenberg. The Early Years. [Molodoy Schoenberg]Moscow State Tchaikovsky ConservatoryMay 2003
Kievman, Carson
Ockeghem and Ligeti: The Music of TranscendencePrinceton UniversityJune 2003
Steenstra, Sytze G.
We Are The Noise Between Stations: A philosophical exploration of the work of David Byrne, at the crossroads of popular mediaMaastricht University, The NetherlandsJune 2003
Richards, William H.
Transformation and Generic Interaction in the Early Serial Music of Igor StravinskyUniversity of Western OntarioJune 2003
Kallis, Vasilis, C
Modes of Cross-collectional Interaction: A Study of Four Collections in Music by Debussy, Ravel and ScriabinUniversity of NottinghamOctober 2003
Khannanov, Ildar
Russian Methodology of Music Theory and AnalysisUniversity of California, Santa BarbaraDecember 2003
Weytjens, Stephan
Text as a Crutch in Arnold Schoenberg’s “Pierrot Lunaire” op. 21? An Analysis of the Relationship between Textual Aspects and Musical Structure in Free AtonalityCatholic University of LeuvenDecember 2003
Ricci, Adam
A Theory of the Harmonic SequenceEastman School of Music, University of RochesterMay 2004
Yoshikawa, Christine M
Rachmaninoff’s Integrative Technique and Structural Organization: A Schenkerian Analysis of Allegro Moderato, from Piano Sonata No. 1 in D Minor, Opus 28Arizona State UniversityMay 2004
Väisälä, Olli
Prolongation in Early Post-Tonal Music: Analytical Examples and Theoretical PrinciplesSibelius AcademyJune 2004
Bhogal, Gurminder
Maurice Ravel, Metric Dissonance, Art Nouveau, Ornament, French Aesthetics, Symbolism, ArabesqueUniversity of ChicagoAugust 2004
Jones, Jr. Melvin E
Key Classes and Textural Dissonance: An Instrument-Specific Study of the Idioms, Textures, and Structures of Selected Early Romantic Music for the Guitar (1799-1850)Indiana UniversityAugust 2004
Losada, C. Catherine
A Theoretical Model for Collage in Music Derived from Selected Works by Berio, Zimmermann and RochbergCity University of New York Graduate CenterAugust 2004
Kizas, Andrew J.
From Octatonicism to Dodecaphony: A Study of Pitch Organization in Selected Works by Donald MartinoUniversity of Western OntarioDecember 2004
McGowan, James J
Dynamic Consonance in Selected Piano Performances of Tonal JazzUniversity of RochesterFebruary 2005
Kelley, Robert T.
Modulo-Seven Transformations in Post-Functional MusicFlorida State UniversityApril 2005
Brasky, Jill Tovah
'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg's GurreliederUniversity of BuffaloMay 2005
Auerbach, Brent, L
The Analytical Grundgestalt: A New Model and Methodology Based on the Music of Johannes BrahmsUniversity of Rochester - Eastman School of MusicMay 2005
Martens, Peter A.
Beat-Finding, Listener Strategies, and Musical MeterUniversity of ChicagoJune 2005
Hibberd, Kristian P. G.
Shostakovich and Bakhtin: A Critical Investigation of the Late Works (1974-1975)Goldsmiths College, University of LondonJune 2005
Mullin, Carolyn D.
Global Coherence in Selected Atonal Works of Anton WebernUniversity of OregonJune 2005
Ng, Samuel
A Grundgestalt Interpretation of Metric Dissonance in the Music of Johannes BrahmsEastman School of Music, University of RochesterJuly 2005
Oravitz, Michael
Metric Patterning and its Effects on Phrasing and Form in Selected Debussy PreludesIndiana UniversityJuly 2005
Schuijer, Michiel
Pitch-Class Set Theory and the Construction of Musical CompetenceUniversity of UtrechtSeptember 2005
Gonzales, Cynthia I.
Text-Music Relationships in the Early Songs of Arnold SchoenbergHarvard UniversityOctober 2005
Deguchi, Tomoko
Forms of Temporal Experience in the Music of Toru TakemitsuUniversity at Buffalo, SUNYNovember 2005
Letts, Marianne Tatom
"How to Disappear Completely": Radiohead and the Resistant Concept AlbumUniversity of Texas at AustinDecember 2005
Hare, Belva Jean
The Uses and Aesthetics of Musical Borrowing in Erik Satie’s Humoristic Piano Suites, 1913-1917University of Texas at AustinDecember 2005
Decker, Bradley D
Preserving the Fragment: Techniques and Traits of Franco Donatoni's Joyous Period (1977 to 2000)University of Illinois at Urbana - ChampaignJanuary 2006
Martins, José Oliveira
Dasian, Guidonian, and other Affinity Spaces in Twentieth-Century MusicUniversity of ChicagoMarch 2006
Hastings, Charise Y.
The Performer's Role: Storytelling in Ballades of Chopin and BrahmsUniversity of Michigan--Ann ArborApril 2006
Thurmaier, David P
Time and Compositional Process in Charles Ives's Holidays SymphonyIndiana UniversityMay 2006
Kleppinger, Stanley V
Tonal Coherence in Copland's Music of the 1940sIndiana UniversityMay 2006
Silberman, Peter S.
Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal MusicEastman School of MusicMay 2006
Randall, Richard R.
A General Theory of Comparative Music AnalysisUniversity of Rochester, Eastman School of MusicMay 2006
Joichi, Janet M.
Closure, Context, and Hierarchical Grouping in Music: A Theoretical and Empirical InvestigationNorthwestern UniversityJune 2006
Searby, Michael D
An investigation of the transformation of compositional process in György Ligeti's music 1974-85, with particular reference to pitch Goldsmiths College. LondonJuly 2006
Gerlach, Oliver
Im Labyrinth des Oktōīchos — Über die Rekonstruktion einer mittelalterlichen Improvisationspraxis in der Musik der Ost- & WestkircheHumboldt UniversityJuly 2006
Adams, Kyle
A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth CenturyCUNY Graduate CenterSeptember 2006
Yust, Jason D
Formal Models of ProlongationUniversity of WashingtonNovember 2006
Isaacson (Gozali) Atara
Cantabile in the Romantic Piano Concerti with Emphasis on Schumann, Liszt and BrahmsBar Ilan UniversityNovember 2006
Gersh, Jason A
Text-Setting in William Byrd's Liber primus sacrarum cantionum quinque vocum (1589): Toward an Analytic MethodologyUniversity of North Carolina at Chapel HillDecember 2006
Selvafiorita, Fabio
Genesi della forma nella Composizione Assistita al Computer: modelli teorici e prospettive poietiche nel'ambiente di programmazione OpenMusic (Genesis of form in Computer Aided Composition: theoretical models and poietical perspective)Bologna UniversityJanuary 2007
Steege, Benjamin A.
Material Ears: Hermann von Helmholtz, Attention, and Modern AuralityHarvard UniversityApril 2007
Solomon, Jason W.
Spatialization in Music: The Analysis and Interpretation of Spatial GesturesUniversity of GeorgiaMay 2007
Post, William D.
Part One: Emanations for Orchestra (original composition); Part Two: Anton Webern and the Golden Ratio: Temporal Proportions as a Formative Principle in Three Late Works, Opp. 27-29.Kent State UniversityMay 2007
Amos, Laura Christine
An Examination of 1920s Parisian Polytonality: Milhaud's Ballet La Creation du mondeThe University of Texas at AustinMay 2007
Doll, Christopher
Listening to Rock HarmonyColumbia UniversityMay 2007
Byron, Avior
Schoenberg as Performer: An Aesthetics in PracticeRoyal Holloway, University of LondonJune 2007
Attar, Ron
Analysis of Bela Bartok's Performances to Selected CompositionsBar-Ilan University, IsraelJune 2007
Rockwell, Joti
Drive, Lonesomeness, and the Genre of Bluegrass MusicUniversity of ChicagoJune 2007
Lundberg, Mattias O.
The Tonus Peregrinus in the Polyphony of the Western ChurchUniversity of LiverpoolJune 2007
Greitzer, Mary L
Tormented VoicesHarvard UniversityAugust 2007
Johnson, Barrett A
An Original Composition, Galleria Armonica, Theme and Variations for Piano, Harpsichord, Harp and Orchestra and A Comparative Study Between the Pedagogical Methodologies of Arnold Schoenberg and Nadia Boulanger Regarding Training the ComposerLouisiana State UniversityNovember 2007
Sheehan, Paul J.
Twelve-Tone Enitities, Inquisitorial Mind, and the Network Model of the Multitude: Analyzing Luigi Dallapiccola's Il prigionieroColumbia UniversityNovember 2007
Derfler, Brandon
Single-Voice Transformations: A Model for Parsimonious Voice LeadingUniversity of WashingtonNovember 2007
Malawey, Victoria L.
Temporal Process, Repetition, and Voice in Björk's MedúllaIndiana University BloomingtonDecember 2007
Stocken, Frederick
Anton Bruckner and Simon Sechter's Fundamental Bass TheoryManchester University, UKDecember 2007
Petrocelli, Paolo
William Walton and the Violin Concerto in England between the 1900 and 1940University of RomeDecember 2007
Heinzelmann, Sigrun B
Sonata Form in Ravel's Pre-War Chamber MusicCUNY Graduate CenterFebruary 2008
Endrinal, Christopher James Scott
Form and Style in the Music of U2Florida State UniversityApril 2008
Ilomäki, Tuukka
On the Similarity of Twelve-Tone RowsSibelius AcademyApril 2008
Kaastra, Linda T.
Systematic Approaches to the Study of Cognition in Western Art Music PerformanceUniversity of British ColumbiaMay 2008
Steinbeck, Paul
Urban Magic: The Art Ensemble of Chicago's Great Black MusicColumbia UniversityMay 2008
Ayotte, Benjamin McKay
Incomplete Ursatzformen Transferences in the Vocal Music of Heinrich SchenkerMichigan State UniversityMay 2008
Roy, Subroto, M C
Examining Avartan in KhayalUniversity of Pune, IndiaMay 2008
Hoag, Melissa E.
Multiply-Directed Moments in the Music of BrahmsIndiana UniversityMay 2008
Arndt, Matthew
Schenker and Schoenberg on the Tone and the GeniusUniversity of Wisconsin—MadisonAugust 2008
NWAMARA, Alvan-Ikoku Okwudiri
CONTEMPORARY ART MUSIC FOR CHRISTIAN WORSHIP IN IGBO LITURGY:
ORIGINAL COMPOSITIONS IN AFRICAN IDIOM WITH BIBLICAL TEXTS
Nnamdi Azikiwe University, Awka. NigeriaAugust 2008
Poudrier, Ève
Toward a general theory of polymeter: Polymetric potential and realization in Elliott Carter's solo and chamber instrumental works after 1980City University of New YorkSeptember 2008
Kinton, Leslie
A Documentary Study and Schenkerian Analysis of Dvořák’s Symphony in D minor, op. 70University of TorontoNovember 2008
Lerch, Alexander
Software-Based Extraction of Objective Parameters from Music PerformancesTechnical University BerlinNovember 2008
Ballard, Jack D., Jr.
Part One: The Castle (Ballet for Large Orchestra) and Part Two: Hyperextended Chord Tones: Chromatic Consonance in a Tertian ContextKent State UniversityDecember 2008
Vojcic, Aleksandra
Rhythms as Form: Rhythmic Hierarchy in Later Twentieth-Century Piano MusicGraduate Center CUNYJanuary 2009
Bruno, Luca
Theory and Analysis of Harmony in Adrian Willaert's Canzone villanesche alla napolitana (1542-1545)University of Trento, ItalyJanuary 2009
Mak, Su Yin
Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz SchubertEastman School of MusicJanuary 2009
Lind, Stephanie K
Replicative Network Structures: Theoretical Definitions and Analytical ApplicationsUniversity of British ColumbiaJanuary 2009
Kahr, Michael
Aspects of Context and Harmony in the Music of Clare FischerUniversity of SydneyMarch 2009
Bor, Mustafa
Contour Reduction Algorithms: A Theory of Pitch and Duration Hierarchies for Post-Tonal MusicUniversity of British ColumbiaApril 2009
Atkinson, Sean E
An Analytical Model for the Study of Multimedia Compositions: A Case Study in Minimalist MusicFlorida State UniversityApril 2009
Grall, Jeremy N.
An Analytical Edition of Giovanni Kapsberger's "Partite sulla folia" for Chitarrone: Ornamentation, Performance Practices, and Compositional Structures in Kapsberger's Folia VariationsUniversity of MemphisApril 2009
Forrest, David L.
Prolongation in the Choral Music of Benjamin BrittenTexas Tech UniversityMay 2009
Auerbach, Jennifer Sadoff
Drafts, Page Proofs, and Revisions of Heinrich Schenker’s Der freie Satz: the Collection at the Austrian National Library and Schenker’s Generative ProcessUniversity of North TexasMay 2009
Iverson, Jennifer
Historical Memory and György Ligeti's Sound-Mass Music, 1958-1968University of Texas at AustinMay 2009
Smith, Kathleen Biddick
Musical Process in Selected Works by Michael TorkeFlorida State UniversityMay 2009
Schultz, Rob
A Diachronic-Transformational Theory of Musical Contour RelationsUniversity of WashingtonJune 2009
Clement, Brett
A Study of the Instrumental Music of Frank ZappaUniversity of CincinnatiJuly 2009
Yorgason, Brent
Expressive Asynchrony and Meter: A Study of Dispersal, Downbeat Space, and Metric DriftIndiana UniversityAugust 2009
Sant \' Ana, Edson Hansen
Intervalar Expressivity in the Almeida Prado\'s PoesilúdiosUniversidade de Brasília (UnB)August 2009
Williams, Justin A
Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case StudiesUniversity of NottinghamSeptember 2009
Lilja, Esa
Theory and Analysis of Classic Heavy Metal HarmonyUniversity of HelsinkiOctober 2009
Reddick, Carissa A
Formal Fusion and Rotational Overlap in Sonata Forms from the Chamber Music of Brahms, Dvořák, Franck, and Grieg
University of ConnecticutNovember 2009
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
Hoffmann, Peter
Music Out of Nothing? A Rigorous Approach to Algorithmic Composition by Iannis XenakisTechnische UniversitDecember 2009
Stover, Chris
A Theory of Flexible Rhythmic Spaces for Diasporic African MusicUniversity of WashingtonDecember 2009
McCandless, Gregory R.
Rhythm and Meter in the Music of Dream TheaterFlorida State UniversityJanuary 2010
Zagalaz, Juan C.
Innovaciones melódico - armónicas en la improvisación Jazzística. Un recorrido a través de Body and Soul. (1935 -1945).Universidad de Jaén January 2010
Rosenberg, Nancy E.
From Rock Music to Theory Pedagogy: Rethinking U.S. College Music Theory Education from a Popular Music PerspectiveBoston UniversityJanuary 2010
Pausina, Melissa A
"Bartleby": An Intertextual Music Drama.Temple UniversityJanuary 2010
Argentino, Joe R
Transformations and Hexatonic Tonnetz Spaces in Late Works of SchoenbergThe University of Western OntarioFebruary 2010
Gonzalez-Lizausaba Oswaldo
L'analyse ondulatoire : une approche morphologique de l'analyse musicaleDoctor in Arts & Sciences of art - Université de Paris 1March 2010
Mailman, Joshua B.
Temporal Dynamic Form in Music: Atonal, Tonal, and OtherEastman School of Music, University of Rochester April 2010
Cairns, Zachary A.
Multiple-Row Serialism in Three Works by Edison DenisovUniversity of Rochester (Eastman School of Music)April 2010
Duncan, Stuart P
The Concept of New Complexity: Notation, Interpretation and AnalysisCornell UniversityMay 2010
Osborn, Brad T.
Beyond Verse and Chorus: Experimental Formal Structures in Post-Millennial Rock MusicUniversity of WashingtonJune 2010
Chor, Ives
Cognitive Frameworks for the Production of Musical RhythmNorthwestern UniversityJune 2010
DeThorne, Jeffrey D.
ORCHESTRATING ELECTROACOUSTICS: ON THE AESTHETICS OF INSTRUMENTATION, ORCHESTRATION, AND ELECTRONIC MUSIC
University of Wisconsin-MadisonAugust 2010
Ludwig, Alexander R
Three-Part Expositions in the String Quartets of Joseph HaydnBrandeis UniversityAugust 2010
Cvetkov, Vasil A.
“CHROMATIC FANTASY SONATA” BY DAVE BRUBECK
Louisiana State University December 2010
Svistoonoff, Katherine A.
Cosmopolitanism in Two Twentieth-Century Piano SonatasUniversity of HoustonJanuary 2011
Attas, Robin E.S.
Meter as Process in Groove-Based Popular MusicThe University of British ColumbiaApril 2011
Love, Stefan E
On Phrase Rhythm in JazzUniversity of RochesterApril 2011
Richards, Mark C.
Analyzing Tension and Drama in Beethoven’s First-Movement Sonata FormsUniversity of TorontoApril 2011
Decker, Gregory J.
The Language of Baroque Opera: Topic, Structure, and Characterization in Handel's Italian-Language OperasFlorida State UniversityApril 2011
Barley, Raymond B., Jr.
Tonality and Modality in Finnish Folk MusicUnion Institute & UniversityApril 2011
Arthurs, Daniel J.
Reconstructing Tonal Principles in the Music of Brad MehldauIndiana University, BloomingtonMay 2011
Flinn, John W.
Reconstructive Postmodernism, Quotation, and Musical Analysis: A Methodology with Reference to the Third Movement of Luciano BerioUniversity of CincinnatiMay 2011
Austin, Michael L
The Phenomenological Impact of Interface on the Analysis of Digital Music and Sonic ArtUniversity of Texas at DallasJune 2011
Fyr, Kyle R.
Proportion, Temporality, and Performance Issues in Piano Works of John AdamsIndiana UniversityJuly 2011
Ohriner, Mitchell S.
DURATIONAL CONTOURS AND ENACTED MEANING IN RECORDED PERFORMANCES OF CHOPIN’S PIANO MUSICIndiana UniversityJuly 2011
Hughes, Bryn
Harmonic Expectation in Twelve-Bar Blues ProgressionsFlorida State UniversityAugust 2011
Lavacek, Justin
Contrapuntal Confrontation and Expressive Signification in the Motets of MachautIndiana UniversityDecember 2011
Garrison, Rodney
Schenker's Ausfaltung Unfolded: Notation, Terminology, and PracticeUniversity at BuffaloDecember 2011
Vurkaç, Mehmet
Prestructuring Multilayer Perceptrons based on Information-Theoretic Modeling of a Partido-Alto-based Grammar for Afro-Brazilian Music: Enhanced Generalization and Principles of Parsimony, including an Investigation of Statistical ParadigmsPortland State UniversityDecember 2011
de Clercq, Trevor O.
Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock MusicEastman School of Music, University of RochesterJanuary 2012
Eng, Clare Sher Ling
Motif and Closure in Twentieth-Century Music: Bartók, Britten and FauréYale UniversityMarch 2012
Heap, Matthew
Keep Going: Narrative Continuity in Luciano Berio\'s Sinfonia AND Dillinger: An American OratorioUniversity of PittsburghApril 2012
Klug, Gregory Kyle
A Study of Two Biblical Choral Symphonies with an Original CompositionUniversity of Northern ColoradoApril 2012
Lehman, Frank M
Reading Tonality Through Film: Transformational Hermeneutics and the Music of Hollywood
Harvard UniversityMay 2012
Lin, Wei-Chieh
In Search of Time: Musical Time and Form in Dérive 2 by Pierre BoulezThe Juilliard SchoolMay 2012
Francis, Timothy P
Modal Prolongational Structure in Selected Sacred Choral Compositions by Gustav Holst and Ralph Vaughan WilliamsUniversity of OregonJune 2012
REGO, Eusiel
Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart: uma abordagem estético-analíticaUniversity of São PauloOctober 2012
Jacobus, Enoch S. A.
A New Geometric Model and Methodology for Understanding Parsimonious Seventh-Sonority Pitch-Class SpaceUniversity of KentuckyOctober 2012
Behrens, Lisa, S.
Cyclic Pitch Organization in the Twelve-Tone Works of Aaron CoplandThe Graduate Center, CUNYOctober 2012
Klorman, Edward
Multiple Agency in Mozart\'s Chamber MusicCUNY Graduate CenterJanuary 2013
Bakker, Sara
Playing with Patterns: Isorhythmic Strategies in György Ligeti\'s Late Piano WorksIndiana UniversityApril 2013
Andrew Aziz
In Name Only: The Interaction of Title and Genre in the Sonata Forms of Debussy and RavelEastman School of Music, University of RochesterApril 2013
Bisciglia, Sebastiano
On Row-Class Equivalence ClassesEastman School of Music, University of RochesterApril 2013
Tan, Daphne
Ernst Kurth at the Boundary of Music Theory and PsychologyEastman School of Music, University of RochesterApril 2013
Tobiason, Anders
Non-Assimilation in Schubert SongUniversity of Wisconsin, MadisonApril 2013
Chenette, Timothy K
Counterpoint, Transformations, and Musical Spaces in the Late Sixteenth CenturyIndiana UniversityMay 2013
Ofcarcik, Judith
A Structural-Aesthetic Study of the Variation Movements of Beethoven\'s Late Period\"Florida State UniversityMay 2013
Shelley, Peter J
Rethinking Minimalism: At the Intersection of Art and MusicUniversity of WashingtonJune 2013
Pellegrin, Richard S.
On Jazz Analysis: Schenker, Salzer, and SalienceUniversity of WashingtonJune 2013
Reid, Leah C
Composing Timbre Spaces, Composing Timbre in Space: An Exploration of the Possibilities of Multidimensional Timbre Representations and their Compositional ApplicationsStanford UniversityJune 2013
Michaelsen, Garrett
Analyzing Musical Interaction in Jazz Improvisations of the 1960sIndiana UniversityJuly 2013
Moseley, Brian C.
Twelve-Tone Cartography: Space, Chains and Intimations of \'Tonal Form\' in Webern\'s Twelve-Tone MusicCUNY Graduate CenterAugust 2013
Marlowe, Sarah R.
Fugue in Context: A Schenkerian Approach to Select Works by J.S. Bach and Dmitri ShostakovichEastman School of Music of the University of RochesterOctober 2013
Gleason, Scott M.
Princeton Theory\'s ProblematicsColumbia UniversityOctober 2013
Serebrennikov, Maxim
The Keyboard Thorough-bass Fugue of the Baroque EraThe State Institute of Art Studies, MoscowOctober 2013
Amato, Alexander G.
Thematic and Formal Narrative in Respighi’s Sinfonia DrammaticaUniversity of North TexasNovember 2013
Nobile, Drew F.
A Structural Approach to the Analysis of Rock MusicCUNY Graduate CenterDecember 2013
Porterfield, Richard
Melodic Function and Modal Process in Gregorian ChantCUNY Graduate CenterDecember 2013
Ratay, Elizabeth L
To Be ReflectedUniversity of California, Santa CruzDecember 2013
Hudlow, Adam M.
HARMONY, VOICE LEADING, AND DRAMA IN THREE SONDHEIM MUSICALSLouisiana State UniversityDecember 2013
Fielding, Peter G
The Traditional Vocal Repertoire of Nova Scotia: A Classification of Pitch Space
University of Massachusetts AmherstFebruary 2014
Brown, Jenine L.
Cognitive Models of Interval Perception in Twelve-Tone Music: Hearing Webern\'s Concerto, Op. 24, and Other WorksUniversity of Rochester-Eastman School of MusicApril 2014
Harley, Konrad
Harmonic Function in the Music of Sergei ProkofievUniversity of TorontoApril 2014
Hannon, Andrew C
EXPANSION AND CONTRACTION IN MOVEMENTS I AND VII OF GYÖRGY LIGETI’S HAMBURG CONCERTOUniversity of South CarolinaApril 2014
Metz, Andreas
Temporality, Pace, and Formal Structure in Selected Passages from Brahms\'s Adagio GenreIndiana UniversityMay 2014
Cathey, Sheila C.
Profiles, Perceptions, and Practices Related to Customizable Computer-Aided Instruction (MacGAMUT) Among Postsecondary Aural-Training InstructorsBoston UniversityMay 2014
Marie, George T
Tiny Infinity for Orchestra and Stefan Wolpe\'s Zone Technique and Ralph Shapey\'s Late Music: An Intensive Analysis of String Quartet No. 9University of UtahAugust 2014
Wells, Robert L.
A Generalized Intervallic Approach to Metric ConflictEastman School of MusicNovember 2014
Sekula, Kate A.
Utilizing Computer Programming to Analyze Post-Tonal Music: A Segmentation and Contour Analysis of Twentieth-Century Music for Solo FluteUniversity of ConnecticutDecember 2014
Fishbein, Joshua H.
Leonard Bernstein\'s Chichester Psalms: An Analysis and Companion PieceUniversity of California, Los AngelesDecember 2014
Peterson, John R
NTENTIONAL ACTIONS: A THEORY OF MUSICAL AGENCYFlorida State UniversityDecember 2014
Rodrigues, Higo H
EDWARD ELGAR’S EXTENDED TONAL PROCEDURES—AN INQUIRY INTO ELGAR’S CHROMATIC REALMUniversity of KentuckyDecember 2014
Sabin, Robert W
GARY PEACOCK: ANALYSIS OF PROGRESSIVE DOUBLE BASS IMPROVISATION 1963-1965New York UniversityJanuary 2015
Broesche, Garreth P
The Intimacy of Distance: Glenn Gould and the Poetics of the Recording StudioUniversity of Wisconsin-MadisonMarch 2015
Palfy, Cora S.
Musical Agency as Intersubjective PhenomenonNorthwestern UniversityApril 2015
Huguet, Joan C
Formal Functions and Voice-Leading Structures in Beethoven’s Early Sonata-Rondo Finales
Eastman School of MusicApril 2015
Chung, Heewon
Semitonal Relationships in Chopin\'s MusicUniversity of MichiganApril 2015
Rudman, Jessica L.
Common-tone Preserving Contextual Inversions in the Music of Ellen Taaffe ZwilichThe Graduate Center, City University of New YorkApril 2015
Schumann, Scott C.
Making the Past Present: Topics in Stravinsky’s Neoclassical WorksThe University of Texas at AustinApril 2015
Peter M. van Tour
Counterpoint and Partimento: The Teaching of Composition in Late Eighteenth-Century Naples.Uppsala UniversityMay 2015
Kye, Hee Seng
The Third Voice: Anima as Drama in Mozart\'s OperasThe University of Hong KongMay 2015
Bourne, Janet E
A Theory of Analogy for Musical Sense-Making and Categorization: Understanding Musical JabberwockyNorthwestern UniversityMay 2015
Davis, Colin
Polyphonic Harmony in Three of Ferruccio Busoni\'s Orchestral ElegiesUniversity of North TexasMay 2015
Evan Ware
Their Ways: Theorizing Reinterpretation in Popular MusicUniversity of MichiganMay 2015
van Tour, Peter M.
Counterpoint and Partimento: Methods of Teaching Composition in Late
Eighteenth-Century Naples
Uppsala University, SwedenMay 2015
DeMotta, David J
The Contributions of Earl \"Bud\" Powell to the Modern Jazz StyleGraduate Center, City University of New YorkMay 2015
Bernstein, Zachary
Reconsidering Organicism in Milton Babbitt\'s Music and ThoughtCUNY Graduate CenterJune 2015
Cohen, Gilad
Expansive Rock: Large-Scale Structure in the Music of Pink FloydPrinceton UniversityJune 2015
Newton, Alex
Semiotics of Music, Semiotics of Sound, and Film: Toward a Theory of AcousticonsThe University of Texas-AustinJune 2015
Mutch, Caleb M
Studies in the History of the CadenceColumbia UniversityJune 2015
Rabinovitch, Gilad
Tracing Galant Threads: Gjerdingen\'s Schemata and the Evolution of Musical Form, 1730-1780Eastman School of Music, University of RochesterJuly 2015
Ripley, Angela N.
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
The Ohio State UniversityJuly 2015
McDonnell, Cari E
Genre in Context: the Musical in Classical HollywoodThe University of Texas at AustinAugust 2015
Ensign, Jeffrey S.
Form in Popular Song, 1990-2009University of North TexasAugust 2015
Palmer, James K N
Form-Functional and Topical Sources of Humour in Classical Instrumental MusicUniversity of British ColumbiaAugust 2015
Gerg, Ian W
The Virtual Observing Agent in Music: A Theory of Agential Perspective as Implied by Indexical GestureUniversity of Texas at AustinAugust 2015
Dellosa, Lerie Grace
Messiaen\'s Musical Language: Technique and Theological Symbolism in Les Corps glorieux, \"Combat de la mort et de la vie\"University of North TexasOctober 2015
Murphy, Nancy E.
\"The Times They Are A-Changin\'\": Flexible Meter and Text Expression in 1960s and 70s Singer-Songwriter MusicThe University of British ColumbiaDecember 2015
Geyer, Benjamin M.
Meter, Phrase, and Form in the Compositions of Maria SchneiderUniversity of KentuckyApril 2016
LaCour, Darren A.
The Long-Playing Ellington: Analyzing Composition and Collaboration in the Duke Ellington OrchestraWashington University in St. LouisApril 2016
Sherrill, Paul M.
The Metastasian Da Capo Aria: Moral Philosophy, Characteristic Actions, and Dialogic FormIndiana UniversityMay 2016
Burns, Alexandra
The Musical Voices of the “Double-Man”: Nature and Religious Identity in Gustav Mahler’s First SymphonyThe University of SheffieldMay 2016
Sofer, Danielle, S
Making Sex Sound: Erotic Currents in Electronic MusicUniversity of Music and Performing Arts GrazJune 2016
Bradford, Wesley J
Developing a Mathematically Informed Approach to Musical Narrative through the Analysis of Three Twentieth-Century Monophonic Woodwind WorksLouisiana State UniversityJune 2016
Naxer, Meghan
Malleable Mindsets: Rethinking Instructional Design in Undergraduate Music TheoryUniversity of OregonJune 2016
Thiebaut, Ines
Symmetry and Interval Cycles in the Quartettos of Mario DavidovskyCUNY Graduate CenterSeptember 2016
Short, Rachel E.
Musical Feet: The Interaction of Choreography and Music in Leonard Bernstein and Jerome Robbins’s Ballet Fancy FreeUniversity of California, Santa BarbaraSeptember 2016
MANICA, Solon Santana
Musical Interpretation and Narrativity: study applied to Aboio Op.65 for solo flute by Paulo Costa LimaUniversidade Federal da BahiaSeptember 2016
Lin, Pin Hsin
Synergies between East Asian and Western Classical Musical AestheticsUniversity of California, Los AngelesNovember 2016
Hamm, Chelsey L
Charles Ives and Democracy: Association, Borrowing, and Treatment of Dissonance in His MusicIndiana UniversityDecember 2016
Motazedian, Tahirih
To Key or Not to Key: Tonal Design in Film MusicYale UniversityDecember 2016
Hooper, Jason A.
Heinrich Schenker’s Early Approach to Form, 1895–1921: Implications for His Late Work and Its Reception
CUNY Graduate CenterFebruary 2017
Oinas, Cecilia E.
\'Magic points\' and evaded cadences. Analysis, performance, and their interaction in four opening piano trio movements of Felix Mendelssohn and Robert Schumann.The Sibelius Academy of the University of the Arts HelsinkiFebruary 2017
Bell, Matthew T.
Rhythmic Gesture in Classic Ballet: Awakening Tchaikovsky\'s Sleeping BeautyThe University of Texas at AustinMarch 2017
Hauck-Silva, Caiti
Diction, Expressivity and Conductor’s Choices in Choral Works Sung in German: Discussing Relationships Between Writings and RecordingsUniversity of São PauloMarch 2017
Tompkins, Daniel C.
Early Seventeenth-Century Harmonic Practice: A Corpus Study of Tonality, Modality, and Harmonic Function in Italian Secular Song with Baroque Guitar Accompaniment in Alfabeto TablatureFlorida State UniversityMarch 2017
Salamone, Jennifer L.
Misbehaving Minuets: A Preliminary Theory of Humor and Dance Form in Haydn\'s Opp. 76 and 77University of KentuckyApril 2017
Lavengood, Megan L.
A New Approach to the Analysis of TimbreCity University of New YorkMay 2017


     Add a new dissertation

SMT