| Author |
Title |
Institution |
Completed |
Freer, Nicholas
| Allan Holdsworth: Principles of Harmonic Organisation in Selected Compositions
| University of Melbourne | July 2022 | Webber, Miriam B.
| Analysis as Dialogue: Bakhtinian Theory and the Music of Dmitri Shostakovich | University of Kansas | April 2021 | Posen, Thomas W
| Analyzing Beethoven's Eroica Sketches: A Form-Functional Perspective on the First-Movement Exposition | McGill University | September 2022 | Leaman, Kara Yoo
| Analyzing Music and Dance: Balanchine’s Choreography to Tchaikovsky and the Choreomusical Score | Yale University | October 2016 | Carter-Enyi, Aaron
| Contour Levels: An Abstraction of Pitch Space Based on African Tone Systems | Ohio State University | April 2016 | Maxwell, Braden N.
| Designated Qualities: A New Approach to the Music of Maurice Ravel | University of Rochester: Eastman School of Music | November 2022 | Liebermann, Alexander
| ERWIN SCHULHOFF (1894–1942): A Comparative Study of the Sonata for Violin and Piano, op. 7 (WV 24) and the
Sonata for Violin and Piano (WV 91)
| Manhattan School of Music | May 2022 | Daly, Timothy P.
| From Counterpoint to Composition in the Early L’homme armé Mass | The University of Melbourne | September 2020 | Ross, Martin
| Gesture in Steve Reich's Music and its Signification: A Referential Approach to His Process, Stylistic, and Postminimalist Works | University of Western Ontario | November 2022 | Utne-Reitan, Bjørnar
| Harmony in Conservatoire Education: A Study in the History of Music Theory in Norway | Norwegian Academy of Music | November 2022 | Helmcke, William M.
| Structure and Meaning in Fryderyk Chopin's Polonaises | University of Massachusetts Amherst | April 2022 | Bradley, Catherine A.
| The Earliest Motets: Musical Borrowing and Re-Use | University of Cambridge | March 2011 |
