Dissertation Index
rev.
17 October 2005
Brent Yorgason
This index includes announcements of completed and in-progress dissertations that have appeared in Music Theory Online. Those who wish to obtain copies of dissertations listed here should contact the author or University Microfilms Inc. (http://www.umi.com).
| Adlington, Robert C. "Temporality in post-tonal music." University of Sussex, 1996. | dis.3.1.html |
| Alegant, Brian. "The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical Implications." Eastman School of Music, University of Rochester, 1992. | |
| Anson-Cartwright, Mark. "The Development Section in Haydn's Late Instrumental Works." City University of New York, 1998. | dis.5.3.html |
| BaileyShea, Matthew L. "The Wagnerian Satz: The Rhetoric of the Sentence in Wagner's Post-Lohengrin Operas." Yale University, May 2003. | dis.9.2.html |
| Barker, Naomi Joy. "Analytical Issues in the Toccatas of Girolamo Frescobaldi." Royal Holloway College, University of London, 1995. | |
| Bauer, Amy M. "Compositional Process and Parody in the Music of Gyorgy Ligeti." Yale University, 1996. | |
| Beaudoin, Paul E. "Rhetoric as a Heuristic in the First Movement of Beethoven's Third Sonata for Violoncello and Piano, op. 69." Brandeis University, 2002. | dis.7.5.html |
| Bell, Vicki P. "Shaker Music Theory: The Nineteenth-Century Treatises of Isaac Newton Youngs and Russel Haskell." University of Kentucky, 1998. | |
| Benoit, John R. "An Alternative Model of Fundamental Structure in Selected Lieder by Franz Schubert." University of Texas, Austin, 1994. | |
| Berry, David Carson. "Stravinsky's 'Skeletons': Reconnoitering the Evolutionary Paths from Variation Sets to Serialism." Yale University, March 2002. | dis.8.2.html |
| Biamonte, Nicole V. "The Modes in Romantic Music," Yale University, 1998 (projected) | |
| Blom-Smith, Richard N. W. "A Theory of Accent in Tonal Music with an Assessment of Selected Modern Accentologies." University of London, 1994. | dis.7.2.html |
| Boland, Marguerite M. "The All-Trichord Hexachord: Compositional Strategies in Elliott Carter's 'Con Leggerezza' and 'Gra.'" La Trobe University, Melbourne, Australia, December 1999. | dis.8.2.html |
| Botelho, Mauro. "Rhythm, Meter, and Phrase: Temporal Structures in Johann Sebastian Bach's Concertos." University of Michigan, School of Music, 1993. | |
| Boyd, James W. "Mahler and Directional Tonality." University of Michigan, 1993. | |
| Brasky, Jill Tovah. "'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg's Gurrelieder." University of Buffalo, May 2005 | diss.11.2.html |
| Brass, Christophe. "La basse fondamentale dans le Clavier bien tempéré de J. S. Bach." Université Strasbourg II, 2001. | dis.7.5.html |
| Bribitzer-Stull, Matthew P. "Thematic Development and Dramatic Association in Wagner's Der Ring des Nibelungen." Eastman School of Music, July 2001. | dis.8.3.html |
| Brover-Lubovsky, Bella. "Vivaldi's Harmony: Practice and Theory." Hebrew University of Jerusalem, Israel, 2000. | dis.7.5.html |
| Brown, Stephen C. "Dual Interval Space in Twentieth-Century Music." Yale University, 1999. | |
| Bryden, Kristy A. "Musical Conclusions: Exploring Closural Processes in Five Late Twentieth-Century Chamber Works." University of Wisconsin-Madison, 2001. | dis.7.4.html |
| Buchler, Michael H. "Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity," Eastman School of Music, 1997. | |
| Buehrer, Theodore E. "An Alternative Pedagogical Paradigm for Aural Skills: An Examination of Constructivist Learning Theory and its Potential for Implementation into Aural Skills Curricula," Indiana University, 1998. | |
| Buhler, James. "Informal Music Analysis: A Critique of Formalism, Semiology, and Narratology As Discourses on Music." University of Pennsylvania, 1996. | |
| Burkett, Lyn Ellen Thornblad. "Tensile Involvement: Counterpoint and Compositional Pedagogy in the Work of Seeger, Hindemith, and Krenek." Indiana University, 2001. | dis.7.5.html |
| Burns, Kristine H. "The History and Development of Algorithms in Music Composition, 1957-93." Ball State University, School of Music, 1994. | mto.94.0.9.dis |
| Burton, Deborah E. "An Analysis of Puccini's Tosca: a Heuristic Approach to the Unifying Elements of the Opera." University of Michigan, School of Music, 1994. | |
| Butterfield, Matthew W. "Jazz Analysis and the Production of Musical Community: A Situational Perspective." University of Pennsylvania, 2000. | |
| Cahn, Steven J. "Variations in Manifold Time: Historical Consciousness in the Music and Writings of Arnold Schoenberg," SUNY/Stony Brook, 1996. | |
| Campbell, Edward. "Boulez and Expression: A Deleuzoguattarian Approach." University of Edinburgh, 2000. | dis.7.2.html |
| Capuzzo, Guy. "Variety Within Unity: Expressive Ends and their Technical Means in the Music of Elliott Carter, 1983-1994." Eastman School of Music, 1999. | |
| Carey, Norman, A. "Distribution Modulo 1 and Musical Scales." University of Rochester, 1998. | |
| Carter, Chandler. "The Progress in 'The Rake's' Return. City University of New York, 1995. | |
| Castren, Marcus. "RECREL: A Similarity Measure for Set-Classes." Sibelius Academy, Helsinki, Finland, 1994. | |
| Castine, Peter. "Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music." Technische Universitaet Berlin, 1994. | mto.94.0.7.dis |
| Castine, Peter. Set Theory Objects (published version) | |
| Cavanagh, Lynn M. "Tonal Multiplicity in Schoenberg's First String Quartet, Op. 7." University of British Columbia, 1996. | |
| Chang, Sangtae, "Boulez's Sonatine and the Genesis of his Twelve-tone Practice," The University of North Texas, 1998. | |
| Chong, Eddy K. M., "Extending Schenker’s Neue musikalische Theorien und Phantasien: Towards a Schenkerian Model for the Analysis of Ravel’s Music," University of Rochester, Eastman School of Music, May 2002. | dis.9.3.html |
| Clevenger, John R. "The Origins of Debussy's Style." Eastman School of Music, University of Rochester, 1994. | |
| Coenen, Alcedo, E. "Meta-Plus: Stockhausen's Plus-Minus Computerized and Analyzed." University of Amsterdam, 1995. | |
| Collaros, Pandel, L. "Quanti-MAS: A Quantitative System of Melodic Analysis." Ohio State University., 1996. | |
| Cornicello, Anthony M. "Timbral Organization in Tristan Murail's 'Désintégrations' and 'Rituals.'" Brandeis University, May 2000. | dis.8.2.html |
| Cotner, John S. "Archetypes of Progressive Rock, ca. 1966-1973," University of Wisconsin-Madison, 1999 (projected). | |
| Cox, Arnie W. "The Metaphoric Logic of Musical Motion and Space." University of Oregon, 1999. | |
| 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 War." University of Pennsylvania, 1997. | |
| Crownfield, Elizabeth E. "The Intellectual Backgrounds of Morley's Plaine and Easie Introduction." New York University, 1999-2000. | |
| Cuciurean, John D. "A Theory of Pitch, Rhythm, and Intertextual Allusion for the Late Music of György Ligeti." State University of New York at Buffalo, 2000. | |
| Cutler, Timothy S., "Orchestration and the Analysis of Tonal Music: Interaction between Orchestration and Other Musical Parameters in Selected Symphonic Compositions, c. 1785-1835." Yale University, 2000. | dis.6.5.html |
|
Demske, Thomas R. "Recognizing Melodic Motion in Musical Scores: Rules and Contexts." Yale University, 1993. |
mto.93.0.2.dis |
| Derkert, Jacob. "Tonalitet och harmonisk artikulation i Claude Debussys verk. Om reception, harmonikteori och analys." University of Stockholm, 1998. | |
| Dolenko, Elena. "Schoenberg. The Early Years." [Molodoy Schoenberg]. Moscow State Tchaikovsky Conservatory, October 2000. | dis.9.3.html |
| Dudeque, Norton, E. "Music Theory and Analysis in the Writings of Arnold Schoenberg (1874-1951)." University of Reading (UK), April 2002. | dis.8.2.html |
| Djordjevic, Michael, L. "Discrete Tone Relations Determined by the Hearing Phenomenon within Five-Dimensional Sound-Musical Continuum." Radio Belgrade, 1995. | |
| Dodds, Michael R. "The Baroque Church Tones in Theory and Practice." University of Rochester, 1999. | |
| Doerksen, John F. "A Theory of Set-class Salience for Post-tonal Music, with Analyses of Selected Lieder by Anton Webern." University of Western Ontario, 1994. | |
| Dogantan, Mine. "Mathis Lussy's Theory of Rhythm as a Basis for a Theory of Expressive Performance." Columbia University, 1997. | |
| Douw, Andre M. "The Construction of Order and Direction in Igor Stravinsky's In Memoriam Dylan Thomas, Canticum Sacrum, and Threni." Utrecht University, 1995. | |
| Dudeque, Norton E. "Tonal Harmony and the Concept of Monotonality in the Writings of Arnold Schoenberg." Universidade de Sao Paulo, June, 1997. | |
| Edith, Zack. "Carmen and Turandot: Femme Fatale to Femme Creatrice in Opera." Bar-Ilan University, Israel, 2000. | dis.9.1.html |
| Essl, Karlheinz. "Anton Webern's Idea of Synthesis." University of Vienna, 1989 (in German) | |
| Fiore, Carlo. "I mottetti di Josquin Desprez: interpretazione attraverso l'analisi." University of Bologna, 1998. | |
| Fancher, Joseph E. "Pitch Organization in the Turangalîla-Symphonie of Olivier Messiaen." University of Oregon, March 2003. | dis.9.1.html |
| Foley, Gretchen. "Pitch and Interval Structures in George Perle's Theory of Twelve-Tone Tonality." University of Western Ontario, 1999. | |
| Follet, Diane W. "Echo - A Chamber Opera in One Act: The Woman's Voice in the Twentieth Century." University of Northern Colorado, 2000. | |
| Foulkes-Levy, Laurdella. "A Synthesis of Recent Theories of Tonal Melody, Contour, and the Diatonic Scale: Implications for Aural Perception and Cognition." SUNY Buffalo, September, 1996. | |
| Fung, Eric W.M. "The Performance of Chopin's First Movement of Piano Sonata in B Minor, op. 58: A Schenkerian Approach." The Chinese University of Hong Kong, 1995. | |
| Gadd, Robin N. "Theorizing Musical Style." University of Southampton, 1997 (projected) | |
| Giovinazzo, Joseph, "Timbral Design of Primary Melody in the First Movement of Bartok's Concerto for Orchestra." La Trobe University, Australia, 1992. | |
| Gloag, Kenneth. "Structure, Syntax and Style in the Music of Stravinsky." University of Exeter, 1995. | |
| Goldenberg, Yosef. "Prolongation of Seventh Chords in Tonal Music." Hebrew University, Jerusalem, September 2001. | dis.9.2.html |
| Gollin, Edward H. "Representations of Space and Conceptions of Distance in Transformational Music Theories." Harvard University, 2000. | dis.7.1.html |
| Gonzales, Cynthia I. "Text-Music Relationships in the Early Songs of Arnold Schoenberg." Harvard University, October 2005. | diss.11.4.html. |
| Gonzales-Lizausaba, Oswaldo. "A Formalized Analysis of Luciano Berio's Erdenklavier for Piano Solo: An Undulatory Approach." Ecole des Hautes Etudes en Sciences Sociales, IRCAM, CNRS, June, 1997. | |
| Gosman, Alan R. "Compositional Approaches to Canons from Ockeghem to Brahms." Harvard University, 2000. | dis.7.1.html |
| Grossman, E. Lary. "Fugal Procedures in the Symphonies of Joseph Haydn." Northwestern University, 1993. | |
| Grove, Paul R. "Doctrine of the Canon: An Annotated Translation of the Second Counterpoint Book of Sergei Ivanovich Taneev." University of Arizona, School of Music, 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 siècle." Ecole des Hautes Etudes en Sciences Sociales, Paris, 1996. | |
| Hafner, Everett. "Time Divided." University of Massachusetts, Amherst, 1995. | |
| Hansen, Thomas Holme. "An Investigation of European Modal/Tonal Theories in the Seventeenth Century." [in Danish] University of Aarhus, 1998. | |
| Harley, Maria A. "Space and Spatialization in Contemporary Music: History and Analysis, Ideas and Implementations." McGill University, 1994. | |
| Harper, Steven A. "Minimal Interval Content Descriptions." School of Music, University of Texas, Austin, 1994. | |
| Harris, Joseph H. "Harmony in Olivier Messiaen's Eclairs sur l'Au-Dela." University of Iowa, 2000. | |
| Herlin, Thomas R. "Carl Ruggles and the Viennese Tradition: A Comparative Analysis." University of Illinois at Urbana-Champaign, 2000. | |
| Hibberd, Kristian P. G. "Shostakovich and Bakhtin: A Critical Investigation of the Late Works (1974-1975)." Goldsmiths College, University of London, June 2005. | diss.11.3.html |
| Hill, David S. "The Persistence of Memory: Mode, Trope, and Difference in the Passion Chorale." SUNY, Stony Brook, 1994. | |
| Hodson, Robert D. "Interaction and Improvisation: Group Interplay in Jazz Performance." University of Wisconsin--Madison, 2000. | dis.7.5.html |
| Hoffman, Stanley M. "Extended Tonality and Voice Leading in Twelve Songs, Op. 27, by Alexander Zemlinsky." Brandeis University, 1993. | |
| Hoffmann, Peter. "Music Out of Nothing? The Dynamic Stochastic Synthesis: A Rigorous Approach to Algorithmic Composition by Iannis Xenakis," Technische Universitaet Berlin, 1998. | |
| Hook, Julian L. "Uniform Triadic Transformations." Indiana University, May 2002. | dis.8.3.html |
| Hussey, William Gregory. "Compositional Modeling and Quotation in the Works of Johannes Brahms: An Application of Harold Bloom's Theory of Influence to Music." University of Texas at Austin, 1996. | |
| Igoudin, Lane, "Impact of MIDI on Electroacoustic Art Music," Stanford University, 1997. | |
| Jacobus-Freund, Suzanne A. "The Art of Development: Development and the Development Section Seen Through the Eyes of Theorists, ca. 1775-1830." Yale University, May 1998. | |
| Jardim, Antonio. "Music, Another Density of Real: Toward a Philosophy of Substantive Language." Conservatorio Brasileiro de Musica, 1988. | |
| Johnson, Russell W. "Essais sur les Principes de l'Harmonie by Jean-Adam Serre: An Annotated Translation." Florida State University, 1994. | |
| Johnson, Shersten R. "Hearing the Unvoiceable: Writer's Block in Benjamin Britten's Death in Venice." University of Wisconsin-Madison, 2002. | |
| 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 University-Bloomington, August 2004. | dis.10.2.html |
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Judd, Cristle Collins. "Aspects of Tonal Coherence in the Motets of Josquin." King's College, University of London, 1993. |
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| Julien, Patricia A. "The Structural Function of Harmonic Relations in Wayne Shorter's Early Compositions: 1959-1963" University of Maryland, May 2003. | dis.9.4.html |
| Karamahmutoglu, Gulay. "Hamparsum Notation Manuscripts at Istanbul Ataturk Library." ITU Turkish Music State Conservatory, December 1999. | dis.10.2.html |
| Kievman, Carson. "Ockeghem and Ligeti: The Music of Transcendence." Princeton University, June 2003. | dis.10.4.html |
| Kim, Jung-Jin. "A Barthesian Analysis of Britten's The Holy Sonnets of John Donne, Op. 35." University of Wisconsin-Madison, 1996. | |
| Kizas, Andrew J. "From Octatonicism to Dodecaphony: A Study of Pitch Organization in Selected Works by Donald Martino." University of Western Ontario, December 2004. | diss.11.3.html |
| Klein, Michael. "A Theoretical Study of the Late Music of Witold Lutoslawski: New Interactions of Pitch, Rhythm, and Form." SUNY, Buffalo, 1995. | |
| Kochavi, Jonathan H. "Contextually Defined Musical Transformations." SUNY - Buffalo, April 2002. | dis.8.2.html |
| Konov Yavor S. "The first treatise of harpsichord 'Les Principes du Clavecin' by Saint Lambert (Paris, M. DCCII)." State Academy of Music "Pancho Vladigerov," Sofia, Bulgaria, 1997. | |
| Konstantinou, Elena. "Nikos Skalkottas: The Piano Music." University of Reading, 2001. | |
| Korstvedt, Bemjamin Marcus. "The First Edition of Anton Bruckner's Fourth Symphony: Authorship, Production and Reception." University of Pennsylvania, 1995. | |
| Kosovsky, Robert. "Bernard Herrmann's Radio Music for the Columbia Workshop." Graduate Center, the City University of New York, 2000. | dis.7.1.html |
| Krumbholz, Jay. "Friedrich Wilhelm Marpurg's Abhandlung von der Fuge." University of Rochester, Eastman School of Music, 1994. | |
| Kuusi, Tuire. "Set-Class and Chord: Examining Connection between Theoretical Resemblance and Perceived Closeness." Sibelius Academy, 2001. | dis.8.1.html |
| Kurth, Richard B. "Mosaic Isomorphism and Mosaic Polyphony: Balance and Imbalance in Schoenberg's Twelve-tone Rhetoric." Harvard University, 1993. | |
| Kwan, Kenneth. "Compositional Design in Recent Works of Chou Wen Chung." SUNY Buffalo, 1995. | |
| Lai, Eric C. "A Theory of Pitch Organization in the Early Music of Chou Wen-chung." Indiana University, 1994. | |
| Laine, Pauli A. "A Method for Musical Motion Patterns." University of Helsinki, April 2000. | dis.8.2.html |
| Lapidaki, Eleni. "Consistency of Tempo Judgments as a Measure of Time Experience in Music Listening." Northwestern University, 1996. | dis.7.4.html |
| Laurson, Mikael. "PATCHWORK: A Visual Programming Language and some Musical Applications." Sibelius Academy, 1996. | |
| Leinberger, Charles F. "An Austrian in Hollywood: Leitmotifs and Thematic Transformation in Max Steiner's Film Score 'Now, Voyager'." University of Arizona, 1996. | |
| Lemieux, Glenn C. "Music in Twelve Parts" by Philip Glass: Reconstruction, Construction and Deconstruction." University of Iowa, 1999. | |
| Leong, Daphne, "A Theory of Time-Spaces for the Analysis of Twentieth-Century Music: Applications to the Music of Bela Bartok," Eastman School of Music, 1999 (projected) | |
| Leydon, Rebecca V. "Narrative Strategies and Debussy's Late Style." McGill Univeristy, 1996. | |
| Lima, Paulo C. "Surface and Structure in the Music of Ernst Widmer: Octatonic Compositional Strategies." Universidade de São Paulo, 2000. | dis.7.5.html |
| Link, John F. "Long-Range Polyrhythms in Elliott Carter's Recent Music." City University of New York, 1994. | |
| Linklater, Mary L. "From Procedure to Technique: Canonic Works of the Fifteenth Century." University of Rochester, 1998. | |
| Lippus, Urve. "Linear Musical Thinking." University of Helsinki, 1995. | |
| Lipscomb, Scott. "Perceptual Judgment of the Symbiosis Between Musical and Visual Components in Film." Masters Thesis, UCLA, 1990. | |
| Lipscomb, Scott. "Cognition of Musical and Visual Accent Structure Alignment in Film and Animation." UCLA, 1995. | |
| 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 I. City University of New York, 1997. | |
| Lopes, Eduardo. "Just In Time: Towards a Theory of Rhythm and Metre." University of Southampton, March 2003. | dis.9.4.html |
| Lorenz, Ralph. "Pedagogical Implications of musica practica in Sixteenth-Century Wittenberg." Indiana University, 1994. | |
| Lowe, Bethany L. "Performance, Analysis, and Interpretation in Sibelius's Fifth Symphony." University of Southampton, 2000. | dis.7.5.html |
| Luchese, Diane. "Olivier Messiaen's Slow Music: Glimpses of Eternity in Time." Northwestern University, 1998. | |
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Manning, David J. "Harmony, Tonality and Structure in Vaughan Williams's Music." Cardiff University, December 2003. |
dis.10.2.html |
| Martens, Peter A. "Beat-Finding, Listener Strategies, and Musical Meter." University of Chicago, June 2005. | diss.11.4.html |
| Maxile, Jr., Horace J. "Say What?: Topics, Signs, and Signification in African American Music." Louisiana State University, October, 2001. | dis.8.2.html |
| McCallum, Peter, H.J. "The Analytical Significance of Beethoven's Sketches for the StringQuartet in F major, opus 135." University of Sydney, spring 1995 (projected) | |
| McClatchie, Stephen. "Alfred Lorenz as Theorist and Analyst." The University of Western Ontario, 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 University, 1994. | |
| McGinness, John, R. "Playing with Debussy's Jeux: Music and Modernism." UC Santa Barbara, 1996. | |
| Mackay, James S. "Motivic Structure and Tonal Organization in Selected Motets of William Byrd." McGill University, 1999. | |
| McKee, Eric J. "The Interaction of Tonal Structure and Phrase Structure as an Aspect of Form in Tonal Music." University of Michigan, School of Music, 1994. | |
| Mak, Su Yin. "Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert." Eastman School of Music, 1997. | |
| Mengozzi, Stefano. "Between Humanistic Ideals and Scientific Thought in Glareanus's Dodecachordon." Univ. of Chicago, 1997. | |
| Mooney, Kevin. "The Table of Relations and Music Psychology in Hugo Riemann's Harmonic Theory." Columbia University, 1995. | |
| Moreno, Enrique I. "Embedding Equal Pitch Spaces and The Question of Expanded Chromas: An Experimental Approach." Stanford University, 1995. | |
| Morse, Michael William. "The Tune in Jazz as a Social Process: Prolegomena to a Sociology of Music." York University (Ontario, Canada), 1996. | |
| Mullin, Carolyn D. "Global Coherence in Selected Atonal Works of Anton Webern." University of Oregon, June 2005. | diss.11.2.html |
| Murphy, Paul T. "The Thoroughbass Theory of Jose de Torres y Martinez Bravo with an Annotated Translation of Reglas Generales (1736)." School of Music, University of Texas, Austin, 1995. | |
| Nelson, Mark. "Quieting the Mind, Manifesting Mind: The Zen Buddhist Roots of John Cage's Early Chance-Determined and Indeterminate Compositions." Princeton University, 1995. | |
| Nelson, Thomas K. "The Fantasy of Absolute Music." University of Minnesota, 1998. | |
| Nicholson, G. Gordon. "The Experience of Successful Contemporary Classical Musical Composition for Non-Computer-Assisted Performance: A Qualitative Study." Saybrook Institute (San Francisco, CA), 1997. | |
| Nivans, David B. "Brahms and the Binary Sonata: A Structuralist Interpretation." University of California, Los Angeles, 1992. | |
| Noll, Thomas. "Morphologische Grundlagen der abendländischen Harmonik" (Morphological Foundations of Occidental Harmony). Technical University of Berlin, 1995. | |
| Novak, John K. "The Programmatic Orchestral Works of Leos Janacek: Their Style and Their Musical and Extramusical Content." University of Texas, Austin, School of Music, 1994. | |
| O'Donnell, Shaugn J. "Transformational Voice Leading in Atonal Music. City University of New York, 1997. | |
| O Maidin, Donnncha Sean. "A Programmer's Environment for Music Analysis." National University of Ireland, University College Cork, 1995. | |
| Pacun, David E. "Large-scale Form in Selected Variation Sets of Johannes Brahms." University of Chicago, 1998. | |
| Paget, Laurie. "The Madrigals of Marc'Antonio Ingegneri." Royal Holloway College, University of London, 1995. | |
| Paley, Elizabeth S. "Narratives of 'Incidental' Music in German Romantic Theater." University of Wisconsin-Madison, 1998. | |
| Palombini, C.V. "Pierre Schaeffer's Typo-Morphology of Sonic Objects." University of Durham, 1992. | |
| Perlman, Marc A. "Unplayed Melodies: Music Theory in Postcolonial Java." Wesleyan University, 1994. | |
| Polyvios, Androutsos. "Development and Experimental Implementation of a Model of Teaching the History of Music in Secondary Education" Aristotle University of Thessaloniki, 2002. | dis.9.4.html |
| Power, Richard. "An Analysis of Transformation Procedures in Gyorgy Ligeti's String Quartet No. 2." University of Illinois at Urbana-Champaign, July 1995. | |
| Powles, Jonathan C. "Continuity and Discontinuity in the Music of Stravinsky: Analysis: Theory and Meta-Theory." Univ. of Oxford (Liverpool), 1995. | |
| Pye, Richard C. "The Music of William Schuman," University of Newcastle, 1999 (projected). | |
| Quaglia, Bruce, W. "Compositional Practice and Analytic Technique; Schoenberg’s Atonal Works: Reconciling Approaches to Sets, Lines and Developing Variation." University of Utah, 1998. | |
| Raickovich, Milos. "'Einstein on the Beach' by Philip Glass: A Musical Analysis. City University of New York, 1994. | |
| Ricci, Adam. "A Theory of the Harmonic Sequence." Eastman School of Music, University of Rochester, May 2004. | diss.11.3.html |
| Richards, William H. "Transformation and Generic Interaction in the Early Serial Music of Igor Stravinsky." University of Western Ontario, June 2003. | dis.9.3.html |
| Riddick, Frank C. "An Analytical Study of Zemlinsky's Second String Quartet." University of Colorado, Boulder, 1994. | |
| Rifkin, Deborah. "Tonal Coherence in Prokofiev's Music: A Study of the Interrelationships of Structure, Motives, and Design." Eastman School of Music, 2000. | |
| Riley, Matthew J. "Attentive Listening: The Concept of *Aufmerksamkeit* and its Significance in German Musical Thought, 1770-1790." University of London, 2000. | |
| Rivest, Johanne. "Le Concert for Piano and Orchestra de John Cage ou les limites de l'indetermination" (English transl: "John Cage's Concert for Piano and Orchestra: the limits of indeterminacy"). University of Montreal, Faculty of Music, 1996. | |
| Robison, Brian Carl. "Carmen arcadiae mechanicae perpetuum: Toward a methodology for analyzing Harrison Birtwistle's music since 1977." Cornell University, 1999. | |
| Rogers, Nancy M. "The Role of Verbal Encoding in Memory for Musical Timbre and Pitch Patterns." University of Rochester, 2000. | dis.7.2.html |
| Roller, Jonathan B. "An Analysis of Selected Movements from the Symphonies of Charles Ives Using Linear and Set Theoretical Analytical Models." University of Kentucky, School of Music, 1995. | |
| Romig, James. "Twelve-Tone Rhythmic Structure and its Application to Form: Time-Point Nesting and Rotation in 'Spin'". Rutgers University, 2000. | |
| Rosenhaus, Steven L. "Harmonic Motion in George Perle's Wind Quintet No.4." New York Univ., Dept. of Music and Performing Arts Professions, 1995. | mto.95.1.4.dis |
| Rothstein, Evan J. "The Tradition of Developing Variation and the Problem of 'Folkloristic' Music in Ives's First Violin Sonata." Indiana University (Bloomington), May 2001. | dis.9.1.html |
| Rubin, Anna, I. "Forêt Profonde: The Narrative, Sonic and Reception Design of Francis Dhomont's Forêt Profonde." Princeton University, 1999. | |
| Rupprecht, Philip E. "Tonal Stratification and Conflict in the Music of Benjamin Britten." Yale University, 1993. | |
| Russell, Todd B. "Rhythm in Music: A Comparative Analysis of the Two Versions of Opus 18, No. 1 String Quartet (I, IV) by Beethoven." University of Kentucky, 1993. | |
| Rust, Douglas. "A Theory of Form for Lutoslawski's Late Works." Yale University, 1994. | |
| Sachania, Millan. "The Arramgements of Leopold Godowsky: An Aesthetic, Historical, and Analytical Study." University of Cambridge, England, 1997. | |
| Samplaski, Arthur G. "A Comparison of Perceived Chord Similarity with Predictions of Selected Twentieth- Century Chord-Classification Systems, using Multidimensional Scaling and Cluster Analysis." Indiana University, 2000. | |
| Samuels, Robert. "Semiotics and Mahler: Analyses of Musical Signification in the Sixth Symphony." Cambridge University, 1993. | |
| Sandell, Gregory, J. "Concurrent Timbres in Orchestration: A Perceptual Study of Factors Determining 'Blend'." Northwestern University, 1991. | |
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Santa, Matthew S. "Studies in Post-Tonal Diatonicism: A Mod7 Perspective." City University of New York, 1999. |
dis.5.2.html |
| Saunders, Michael, D. "A Computer-based Notation for the Process of Musical Composition," University of Wales, Cardiff, 1998. | |
| Scotto, Ciro, G. "Can Non-Tonal Systems Support Music as Richly as Tonal Systems?" University of Washington, Dec., 1995. (projected) | |
| Scrivener, Julie A. "Representations of Time and Space in the Player Piano Studies of Conlon Nancarrow." Michigan State University, 2002. | dis.7.2.html |
| Seltzer, Linda A. "The Unblinking Eye, Literary Theory in the Analysis of Debussy's Pelleas et Melisande." Princeton Univerisity, in progress. | |
| Sheinberg, Ester. "The Semantics of Irony in Shostakovich." (in progress) University of Edinburgh, Scotland. | |
| Simpson, Jasba. "Cochlear Modeling of Sensory Dissonance and Chord Roots." Master's Thesis, University of Waterloo, Waterloo, Ontario, Canada, 1994. | |
| Slottow, Stephen P. "A Vast Simplicity: Pitch Organization in the works of Carl Ruggles." Graduate Center, City University of New York, 2001. | dis.7.3.html |
| Spicer, Mark. "British Pop-Rock Music in the Post-Beatles Era: Three Analytical Studies." Yale University, 2001. | dis.8.2.html |
| Spicker, Volker. "New Piano Improvisation." University of Giessen, Institute of Musicology, 1997 (projected). | |
| Spiegelberg, Scott C. "The Psychoacoustics of Musical Articulation." Eastman School of Music, January 2002. | dis.8.4.html |
| Solomon, Larry Joseph. "Symmetry as a Determinant of Musical Composition." West Virginia University, 1973. | |
| Squibbs, Ronald J. "Analytical Issues in Recent Instrumental Works of Iannis Xenakis." Yale University, 1996 (projected) | |
| Steenstra, Sytze G. "We Are The Noise Between Stations: A philosophical exploration of the work of David Byrne, at the crossroads of popular media, conceptual art, and performance theatre." Maastricht University, The Netherlands, June 2003. | dis.10.4.html |
| Steffen, Ralph Martin. "Metalogik: The Music Theory of Walter Harburger." University of California, Santa Barbara, 1999. | |
| Sundin, Nils-Goran. "Aesthetic Criteria for Musical Interpretation: A Study of the Contemporary Performance of Western Notated Instrumental Music after 1750." University of Jyvaskyla, Finland, 1994. | |
| Synofzik, Thomas. "Heinrich Grimm (1592/93-1637): 'Cantilena est loquela canens'. Studien zu Überlieferung und Kompositionstechnik." University of Cologne, 1998. | dis.6.5.html |
| Taylor, Stephen A. "The Lamento Motif: Metamorphosis in Ligeti's Late Style." Cornell University, 1994. | |
| Telecso, Paula J. "Enharmonicism in Theory and Practice in 18th-Century Music." Ohio State University, 1993. | |
| Thomas, Margaret E. "Polytempo as Temporal Dissonance in the Player Piano Studies of Conlon Nancarrow." Yale University, 1995. (Completed as "Conlon Nancarrow's 'Temporal dissonance': Rhythmic and Textural Stratification in the Studies for Player Piano." Yale University, 1996.) | mto.95.1.3.dis dis.2.5.html |
| Tjoeme, Berit Kvinge. "The Articulation of Sonata Form in Atonal Works by Fartein Valen." University of Oslo, 1995. | |
| Tong, Chee-yee J. "Separate Discourses: A Study of Performance and Analysis." University of Southampton, Dept. of Music, 1994. | |
| Tsougras, Costas F. "Generative Theory of Tonal Music and Modality - Research based on the analysis of '44 Greek miniatures' by Yannis Constantinidis." Aristotle University of Thessaloniki, March 2002. | mto.8.2.html |
| Tucker, Gary R. "Tonality and Atonality in Alban Berg's Four Songs, Op. 2." University of Western Ontario, 1995. | |
| Turner, Mitchell M. "Toward a General Theory of Pitch Structure: Unity Between Horizontal and Vertical Pitch-Class Sets." University of Georgia, 1999. | |
| Uno, Yayoi. "Avant-garde Music circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and Xenakis." Eastman School of Music, University of Rochester, 1993. | |
| Vachon, Pierre. "Study of titles in the Piano Works of Robert Schumann, their function and meaning." University of Montreal,Faculty of Music, 1998. | |
| Van Colle, Sue, J. "Music therapy process with cerebral palsied children: connections with psychoanalytic models, particularly that of Winnicott." University of Reading, 1999. | dis.4.6.html |
| Van Colle, Sue J. "Music Therapy Process with Young People Who Have Severe and Multiple Disabilities." University of Reading, January 2003. | dis.9.4.html |
| Varney, John Charles. "Colombian Bambuco: The Evolution of a National Music Style." Griffith University, 1999. | dis.8.1.html |
| Vives, Thomas E. "The Effect of Timbre on the Chord Identification Accuracy of Sophomore-Level College Music Theory Students." University of Florida, 1998. | |
| Vlagopoulos, Panos Ph. Le noble rhetorique: Mental Models in the Song Production of Guillaume de Machaut. Ionion State University, 1998. | dis.3.5.html |
| Wacker, Lori J. "Motivic Form and Rhythmic Function in the Late Works of S.C. Eckhardt-Gramatté (1899-1974)." Indiana University, 2000. | dis.7.5.html |
| Walker, Jonathan. "The Work-Concept in Music and Musicology: A Philosophical Study." (provisional title) Queen's University Belfast, School of Music, 1996. | |
| Wang, Yuhwen. "The Value of Values: Value Judgment in Edward T. Cone's Music Analyses." Columbia University, 1996. | |
| Waters, Keith, J. "Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger." Eastman School of Music, 1997. | |
| Waters, William J. "A Study of Temporal Change in the Recorded Performances of Igor Stravinsky's, The Rite of Spring." Florida State University, Dec., 1995 (projected) | |
| Weisser, Benedict J. "Notational Practice in Contemporary Music: A Critique of Three Compositional Models (Luciano Berio, John Cage, and Brian Ferneyhough)." City University of New York, 1998. | |
| Wiens, Carl K. "Igor Stravinsky and Agon," University of Michigan, 1997. | |
| Wiering, Frans. "The Language of the Modes. Studies in the History of Polyphonic Modality." University of Amsterdam, 1995. | |
| Wilde, Howard. "Towards a New Theory of Voice-Leading Structure in Sixteenth-Century Polyphony." Royal Holloway College, University of London, 1995. | |
| Wile, Kip D. "A Study of Collection in Neocentric Music." University of Chicago." 1994. | |
| Wilkinson, Carlton J. "Symphony in Five Movements: A Presentation and Analytical Discussion of a New Work in a Symphonic Form." Rutgers Univ., 1995. | |
| Windsor, Luke W. "A Perceptual Approach to the Description and Analysis of Acousmatic Music." City Univeristy, Department of Music, London, 1995. | |
| Wright, James K. "Schoenberg, Wittgenstein, and the Vienna Circle: Epistemological Meta-Themes in Harmonic Theory, Aesthetics, and Logical Positivism." McGill University, February 2002. | dis.10.1.html |
| Vantomme, Jason D. "Score Following by Computer: An Approach by Temporal Pattern." Master's Thesis, McGill University, 1994. | |
| Zamzow, Beth Ann. "The Influence of the Liturgy on the Fifteenth-Century English Carols." University of Iowa, 2000. |