| Author |
Title |
Institution |
Completed |
Acevedo, Stefanie
| Harmonic Schemata of Popular Music: An Empirical Investigation of Analytical Patterns and their Mental Representations | Yale University | May 2020 | Adams, George W
| Listening to Conceptual Music: Technology, Culture, Analysis | University of Chicago | May 2019 | Adams, Kyle
| A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century | CUNY Graduate Center | September 2006 | Adlington, Robert C.
| Temporality in post-tonal music | University of Sussex | September 1996 | Alegant, Brian
| The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical Implications | Eastman School of Music | October 1992 | Amato, Alexander G.
| Thematic and Formal Narrative in Respighi’s Sinfonia Drammatica | University of North Texas | November 2013 | Amos, Laura Christine
| An Examination of 1920s Parisian Polytonality: Milhaud's Ballet La Creation du monde | The University of Texas at Austin | May 2007 | Andrew Aziz
| In Name Only: The Interaction of Title and Genre in the Sonata Forms of Debussy and Ravel | Eastman School of Music, University of Rochester | April 2013 | Anson-Cartwright, Mark
| The Development Section in Haydn's Late Instrumental Works | City University of New York | August 1998 | Antonella Di Giulio
| Mapping Contemporary Works:
a Semiotic and Linguistic Approach to Music Analysis | University at Buffalo | August 2021 | Antonio Jardim
| Music: vigency of poetical thinking | UFRJ Doctor in Poetics | December 1997 | Argentino, Joe R
| Transformations and Hexatonic Tonnetz Spaces in Late Works of Schoenberg | The University of Western Ontario | February 2010 | Ariyan, Ashot
| Bilgamesh, un ballet-opéra en deux actes
Symbiose d’un genre oublié, une mythologie archaïque et une langue morte | University of Montreal | December 2012 | Arndt, Matthew
| Schenker and Schoenberg on the Tone and the Genius | University of Wisconsin—Madison | August 2008 | Arthurs, Daniel J.
| Reconstructing Tonal Principles in the Music of Brad Mehldau | Indiana University, Bloomington | May 2011 | Atkinson, Sean E
| An Analytical Model for the Study of Multimedia Compositions: A Case Study in Minimalist Music | Florida State University | April 2009 | Attar, Ron
| Analysis of Bela Bartok's Performances to Selected Compositions | Bar-Ilan University, Israel | June 2007 | Attas, Robin E.S.
| Meter as Process in Groove-Based Popular Music | The University of British Columbia | April 2011 | Auerbach, Brent, L
| The Analytical Grundgestalt: A New Model and Methodology Based on the Music of Johannes Brahms | University of Rochester - Eastman School of Music | May 2005 | 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 Process | University of North Texas | May 2009 | Austin, Michael L
| The Phenomenological Impact of Interface on the Analysis of Digital Music and Sonic Art | University of Texas at Dallas | June 2011 | Ayotte, Benjamin McKay
| Incomplete Ursatzformen Transferences in the Vocal Music of Heinrich Schenker | Michigan State University | May 2008 | Babyak, Tekla B
| Nietzsche, Debussy, and the Shadow of Wagner | Cornell University | May 2014 | BaileyShea, Matthew L.
| The Wagnerian Satz: The Rhetoric of the Sentence in Wagner's Post-Lohengrin Operas | Yale University | May 2003 | Baker, David J
| Modeling Melodic Dictation | Louisiana State University | August 2019 | Bakker, Sara
| Playing with Patterns: Isorhythmic Strategies in György Ligeti\'s Late Piano Works | Indiana University | April 2013 | Ballard, Jack D., Jr.
| Part One: The Castle (Ballet for Large Orchestra) and Part Two: Hyperextended Chord Tones: Chromatic Consonance in a Tertian Context | Kent State University | December 2008 | 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 | Barker, Naomi Joy
| Analytical Issues in the Toccatas of Girolamo Frescobaldi | University of London | July 1995 | Barley, Raymond B., Jr.
| Tonality and Modality in Finnish Folk Music | Union Institute & University | April 2011 | Barna, Alyssa
| Examining Contrast in Popular and Rock Music | Eastman School of Music | June 2019 | Bauer, Amy, M
| Compositional Process and Parody in the Music of Gyorgy Ligeti | Yale University | August 1996 | Baysal, Ozan
| Phrase Rhythm and Time in Beste-i Kadims - A Cyclical Approach | Istanbul Technical University | October 2011 | Beaudoin, Paul E
| Rhetoric as a Heuristic in the First Movement of Beethoven's Third Sonata for Violoncello and Piano, op. 69 | Brandeis University | February 2002 | Behrens, Lisa, S.
| Cyclic Pitch Organization in the Twelve-Tone Works of Aaron Copland | The Graduate Center, CUNY | October 2012 | Belcher, Owen H
| Analytical Studies of Selected Cantatas by J.S. Bach | Eastman School of Music | April 2018 | Bell, Vicki P.
| Shaker Music Theory: The Nineteenth-Century Treatises of Isaac Newton Youngs and Russel Haskell | University of Kentucky | May 1998 | Benoit, John R.
| An Alternative Model of Fundamental Structure in Selected Lieder by Franz Schubert | The University of Texas at Austin | August 1994 | Bernstein, Zachary
| Reconsidering Organicism in Milton Babbitt\'s Music and Thought | CUNY Graduate Center | June 2015 | Berry, David Carson
| Stravinsky's "Skeletons": Reconnoitering the Evolutionary Paths from Variation Sets to Serialism | Yale University | March 2002 | Bhogal, Gurminder
| Maurice Ravel, Metric Dissonance, Art Nouveau, Ornament, French Aesthetics, Symbolism, Arabesque | University of Chicago | August 2004 | Biamonte, Nicole V
| The Modes in Romantic Music | Yale University | March 1998 | Bisciglia, Sebastiano
| On Row-Class Equivalence Classes | Eastman School of Music, University of Rochester | April 2013 | Blom-Smith, Richard N. W.
| A Theory of Accent in Tonal Music with an Assessment of Selected Modern Accentologies | King's College London, University of London | April 1994 | Blustein, Nathan B
| Through Arrangements of Shadows: Experiences of Reprise in Stephen Sondheim’s Leitmotivic Musicals | Indiana University | August 2020 | BOLAND, Marguerite M
| Form and Dialectical Opposition in Elliott Carter\'s Compositional Aesthetic | Australian National University | December 2017 | Boland, Marguerite M
| The All-Trichord Hexachord: Compositional Strategies in Elliott Carter's "Con Leggerezza" and "Gra". | La Trobe University, Melbourne, Australia | December 1999 | Bor, Mustafa
| Contour Reduction Algorithms: A Theory of Pitch and Duration Hierarchies for Post-Tonal Music | University of British Columbia | April 2009 | Boss, Jack F.
| An Analogue to Developing Variation in a Late Atonal Song of Arnold Schoenberg | Yale University | May 1991 | Botelho, Mauro
| Rhythm, Meter, and Phrase: Temporal Structures in Johann Sebastian Bach's Concertos | University of Michigan | March 1993 | Bourne, Janet E
| A Theory of Analogy for Musical Sense-Making and Categorization: Understanding Musical Jabberwocky | Northwestern University | May 2015 | Boyd, Clifton
| Keep It Barbershop: Stylistic Preservation and Whiteness in the Barbershop Harmony Society | Yale University | May 2022 | Boyd, James W.
| Mahler and Directional Tonality | University of Michigan | September 1993 | Bradford, Wesley J
| Developing a Mathematically Informed Approach to Musical Narrative through the Analysis of Three Twentieth-Century Monophonic Woodwind Works | Louisiana State University | June 2016 | Bradley, Catherine A.
| The Earliest Motets: Musical Borrowing and Re-Use | University of Cambridge | March 2011 | Brasky, Jill Tovah
| 'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg's Gurrelieder | University of Buffalo | May 2005 | Brass, Christophe
| La basse fondamentale dans le Clavier bien tempéré de J. S. Bach | Université Strasbourg II (= Université Marc Bloch) | September 2001 | Bribitzer-Stull, Matthew, P.
| Thematic Development and Dramatic Association in Wagner's Der Ring des Nibelungen | Eastman School of Music | July 2001 | Broesche, Garreth P
| The Intimacy of Distance: Glenn Gould and the Poetics of the Recording Studio | University of Wisconsin-Madison | March 2015 | Brover-Lubovsky, Bella
| Vivaldi's Harmony: Practice and Theory | Hebrew University of Jerusalem, Israel | October 2000 | Brown, Jenine L.
| Cognitive Models of Interval Perception in Twelve-Tone Music: Hearing Webern\'s Concerto, Op. 24, and Other Works | University of Rochester-Eastman School of Music | April 2014 | Brown, Stephen C.
| Dual Interval Space in Twentieth-Century Music | Yale University | May 1999 | Bruno, Luca
| Theory and Analysis of Harmony in Adrian Willaert's Canzone villanesche alla napolitana (1542-1545) | University of Trento, Italy | January 2009 | Bryden, Kristy A.
| Musical Conclusions: Exploring Closural Processes in Five Late Twentieth-Century Chamber Works | University of Wisconsin-Madison | May 2001 | Buchler, Michael H.
| Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity | Eastman School of Music | October 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 | December 1998 | Buhler, James
| Informal Music Analysis: A Critique of Formalism, Semiology, and Narratology As Discourses on Music | University of Pennsylvania | May 1996 | Burkett, Lyn Ellen Thornblad
| Tensile Involvement: Counterpoint and Compositional Pedagogy in the Work of Seeger, Hindemith, and Krenek | Indiana University | April 2001 | Burns, Alexandra
| The Musical Voices of the “Double-Manâ€: Nature and Religious Identity in Gustav Mahler’s First Symphony | The University of Sheffield | May 2016 | Burns, Alexandra
| \'Sterben werd\' ich, um zu leben!\': The Eschatological Questions in Gustav Mahler\'s Second Symphony | The University of Sheffield | September 2017 | Burns, Kristine H.
| The History and Development of Algorithms in Music Composition, 1957-93 | Ball State University | April 1994 | Burton, Deborah, E.
| An Analysis of Puccini's Tosca: a heuristic approach to the unifying elements of the opera | University of Michigan | May 1995 | Butterfield, Matthew W.
| Jazz Analysis and the Production of Musical Community: A Situational Perspective | University of Pennsylvania | May 2000 | Byrne, David A.
| The Harmonic Theories of Sigfrid Karg-Elert: Acoustics, Function, Transformation, Perception | University of Cincinnati | March 2018 | Byron, Avior
| Schoenberg as Performer: An Aesthetics in Practice | Royal Holloway, University of London | June 2007 | Cahn, Steven J.
| Variations in Manifold Time: Historical Consciousness in the Music and Writings of Arnold Schoenberg | SUNY at Stony Brook | August 1996 | Cairns, Zachary A.
| Multiple-Row Serialism in Three Works by Edison Denisov | University of Rochester (Eastman School of Music) | April 2010 | Campbell, Edward
| Boulez and Expression: A Deleuzoguattarian Approach | University of Edinburgh | June 2000 | Capuzzo, Guy
| Variety Within Unity: Expressive Ends and their Technical Means in the Music of Elliott Carter, 1983-1994 | Eastman School of Music, University of Rochester | December 1999 | Carey, Norman, A
| Distribution Modulo 1 and Musical Scales | University of Rochester | February 1998 | Carter, Chandler
| The Progress in "The Rake's" Return | The City University of New York | January 1995 | Carter-Enyi, Aaron
| Contour Levels: An Abstraction of Pitch Space Based on African Tone Systems | Ohio State University | April 2016 | Castine, Peter
| Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music | Technische Universitaet Berlin | January 1994 | Castren, Marcus
| RECREL: A Similarity Measure for Set-Classes | Sibelius Academy | December 1994 | Cathey, Sheila C.
| Profiles, Perceptions, and Practices Related to Customizable Computer-Aided Instruction (MacGAMUT) Among Postsecondary Aural-Training Instructors | Boston University | May 2014 | Cavanagh, Lynn, M.
| Tonal Multiplicity in Schoenberg's First String Quartet, Op. 7 | The University of British Columbia | June 1996 | Chang, Sangtae
| Boulez's Sonatine and the Genesis of his Twelve-tone Practice | The University of North Texas | March 1998 | Chenette, Timothy K
| Counterpoint, Transformations, and Musical Spaces in the Late Sixteenth Century | Indiana University | May 2013 | Chong, Eddy K. M.
| Extending Schenker’s Neue musikalische Theorien und Phantasien: Towards a Schenkerian | University of Rochester, Eastman School of Music | May 2002 | Chor, Ives
| Cognitive Frameworks for the Production of Musical Rhythm | Northwestern University | June 2010 | Chung, Andrew J
| Music as Performative Utterance: Towards a Unified Theory of Musical Meaning with Applications in 21st-Century Works and Social Life | Yale University | March 2019 | Chung, Heewon
| Semitonal Relationships in Chopin\'s Music | University of Michigan | April 2015 | Clement, Brett
| A Study of the Instrumental Music of Frank Zappa | University of Cincinnati | July 2009 | Clevenger, John R.
| The Origins of Debussy's Style | University of Rochester | March 1993 | Cobb, Nathan A
| Synthesis at the Frontiers: Kaija Saariaho and the Formation of a Practice | University of California, Santa Barbara | September 2024 | Coenen, Alcedo, E.
| Meta-Plus: Stockhausen's Plus-Minus computerized and analyzed | University of Amsterdam | November 1995 | Cohen, Gilad
| Expansive Rock: Large-Scale Structure in the Music of Pink Floyd | Princeton University | June 2015 | Collaros, Pandel, L.
| Quanti-MAS: A Quantitative System of Melodic Analysis | Ohio State University | December 1996 | Cornicello, Anthony M.
| Timbral Organization in Tristan Murail's "Désintégrations" and "Rituals" | Brandeis University | May 2000 | Cotner, John S.
| Archetypes of Progressive Rock, ca. 1966-1973 | University of Wisconsin-Madison | December 1999 | Cox, Arnie W.
| The Metaphoric Logic of Musical Motion and Space | University of Oregon | June 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 | April 1997 | Crownfield, Elizabeth E.
| The Intellectual Backgrounds of Morley's Plaine and Easie Introduction | New York University | January 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 | August 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 | March 2000 | Cvetkov, Vasil A.
| “CHROMATIC FANTASY SONATA” BY DAVE BRUBECK
| Louisiana State University | December 2010 | Daly, Timothy P.
| From Counterpoint to Composition in the Early L’homme armé Mass | The University of Melbourne | September 2020 | Danby, Judd
| Array and Superarray Structure and Projection in Milton Babbitt's recent Orchestral Music | University of Illinois at Urbana-Champaign | November 1997 | Davis, Colin
| Polyphonic Harmony in Three of Ferruccio Busoni\'s Orchestral Elegies | University of North Texas | May 2015 | Day-O\'Connell, Jeremy
| Pentatonicism in Nineteenth-Century Music | Cornell University | August 2002 | de Clercq, Trevor O.
| Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock Music | Eastman School of Music, University of Rochester | January 2012 | Decker, Bradley D
| Preserving the Fragment: Techniques and Traits of Franco Donatoni's Joyous Period (1977 to 2000) | University of Illinois at Urbana - Champaign | January 2006 | Decker, Gregory J.
| The Language of Baroque Opera: Topic, Structure, and Characterization in Handel's Italian-Language Operas | Florida State University | April 2011 | Deguchi, Tomoko
| Forms of Temporal Experience in the Music of Toru Takemitsu | University at Buffalo, SUNY | November 2005 | 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 Texas | October 2015 | DeMotta, David J
| The Contributions of Earl \"Bud\" Powell to the Modern Jazz Style | Graduate Center, City University of New York | May 2015 | Demske, Thomas R.
| Recognizing Melodic Motion in Musical Scores: Rules and Contexts | Yale University | March 1993 | Derfler, Brandon
| Single-Voice Transformations: A Model for Parsimonious Voice Leading | University of Washington | November 2007 | Derkert, Jacob
| Tonalitet och harmonisk artikulation i Claude Debussys verk. Om reception, armonikteori och analys | University of Stockholm | October 1998 | DeThorne, Jeffrey D.
| ORCHESTRATING ELECTROACOUSTICS: ON THE AESTHETICS OF INSTRUMENTATION, ORCHESTRATION, AND ELECTRONIC MUSIC
| University of Wisconsin-Madison | August 2010 | DeVlieger, Dana L
| Promoting Creativity: How the Use of Music Analysis Affects Value Judgments in Copyright Litigation | University of Minnesota | June 2020 | Djordjevic, Michael, L.
| Discrete Tone Relations Determined by the Hearing Phenomenon within Five-Dimensional Sound-Musical Continuum | Radio Belgrade, Hilandarska 2, 11000 Belgrade, Serbia, YU | June 1995 | Dobbs, Benjamin M.
| A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae | University of North Texas | August 2015 | Dodds, Michael R.
| The Baroque Church Tones in Theory and Practice | University of Rochester | January 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 | June 1994 | Dogantan, Mine
| Mathis Lussy's Theory of Rhythm as a Basis for a Theory of Expressive Performance | Columbia University, New York | May 1997 | Dolenko, Elena
| Schoenberg. The Early Years. [Molodoy Schoenberg] | Moscow State Tchaikovsky Conservatory | May 2003 | Doll, Christopher
| Listening to Rock Harmony | Columbia University | May 2007 | Donaldson, James
| Topics, Form, and Expression in the Music of György Ligeti and Thomas Adès | McGill University | May 2021 | Douw, Andre, M.
| The Construction of Order and Direction in Igor Stravinsky's In Memoriam Dylan Thomas, Canticum Sacrum, and Threni | Utrecht University | March 1995 | Drozzina, Aleksandra
| Schnittke, Gubaidulina, and Pärt: Religion and Spirituality during the Late Thaw and Early Perestroika | Louisiana State University | May 2020 | Dudeque, Norton E.
| Music Theory and Analysis in the Writings of Arnold Schoenberg (1874-1951) | University of Reading | April 2002 | Dudeque, Norton E.
| Tonal Harmony and the Concept of Monotonality in the Writings of Arnold Schoenberg | Universidade de Sao Paulo | June 1997 | Duncan, Stuart P
| The Concept of New Complexity: Notation, Interpretation and Analysis | Cornell University | May 2010 | Edith, Zack
| Carmen and Turandot: femme fatale to femme creatrice in opera | Bar-Ilan University, Israel | June 2000 | Endrinal, Christopher James Scott
| Form and Style in the Music of U2 | Florida State University | April 2008 | Eng, Clare Sher Ling
| Motif and Closure in Twentieth-Century Music: Bartók, Britten and Fauré | Yale University | March 2012 | Ensign, Jeffrey S.
| Form in Popular Song, 1990-2009 | University of North Texas | August 2015 | 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 c | University of Vienna | May 1989 | Evan Ware
| Their Ways: Theorizing Reinterpretation in Popular Music | University of Michigan | May 2015 | Evans, James E.
| Fluid Dynamics: Representations of Water in Music | University of Kentucky | February 2021 | Falch, Niels
| From Oy to Joy: Jewish Musical Style in American Popular Songs, 1892-1945 | University of Groningen | May 2020 | Fancher, Joseph E.
| Pitch Organization in the Turangalîla-Symphonie of Olivier Messiaen | University of Oregon | March 2003 | Fankhauser, Gabe
| Cadential Intervention and Tonal Expansion in Select Works of Shostakovich
| Florida State University | December 1999 | Ferguson, Brent A
| Intertextuality in Movie Music Videos | University of Kansas | June 2020 | Ferrandino, Matthew
| A Narratology of Music Video | University of Kansas | March 2021 | Fielding, Peter G
| The Traditional Vocal Repertoire of Nova Scotia: A Classification of Pitch Space
| University of Massachusetts Amherst | February 2014 | Fiore, Carlo
| I mottetti di Josquin Desprez: interpretazione attraverso l'analisi | University of Bologna, Dipartimento di Musica e Spettacolo | April 1998 | Fishbein, Joshua H.
| Leonard Bernstein\'s Chichester Psalms: An Analysis and Companion Piece | University of California, Los Angeles | December 2014 | Fitzpatrick, Jacob D
| Stravinsky, Balanchine, and Agon: An Intersection of Musical Movement and Dance | University of Wisconsin-Madison | April 2020 | Flinn, John W.
| Reconstructive Postmodernism, Quotation, and Musical Analysis: A Methodology with Reference to the Third Movement of Luciano Berio | University of Cincinnati | May 2011 | Foley, Gretchen
| Pitch and Interval Structures in George Perle's Theory of Twelve-Tone Tonality | University of Western Ontario | January 1999 | 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 Sparrows | Eastman School of Music | May 1985 | Follet, Diane W.
| Echo - A Chamber Opera in One Act: The Woman's Voice in the Twentieth Century | University of Northern Colorado | August 2000 | Forrest, David L.
| Prolongation in the Choral Music of Benjamin Britten | Texas Tech University | May 2009 | 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 | Francis, Timothy P
| Modal Prolongational Structure in Selected Sacred Choral Compositions by Gustav Holst and Ralph Vaughan Williams | University of Oregon | June 2012 | Freer, Nicholas
| Allan Holdsworth: Principles of Harmonic Organisation in Selected Compositions
| University of Melbourne | July 2022 | 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 | June 1995 | Fyr, Kyle R.
| Proportion, Temporality, and Performance Issues in Piano Works of John Adams | Indiana University | July 2011 | Gadd, Robin N.
| Theorizing Musical Style | University of Southampton | July 1997 | Garrison, Rodney
| Schenker's Ausfaltung Unfolded: Notation, Terminology, and Practice | University at Buffalo | December 2011 | Geary, David
| Analyzing Drums and Other Beats in Twenty-First Century Popular Music | Indiana University | December 2019 | Gerg, Ian W
| The Virtual Observing Agent in Music: A Theory of Agential Perspective as Implied by Indexical Gesture | University of Texas at Austin | August 2015 | Gerlach, Oliver
| Im Labyrinth des Oktōīchos —
Über die Rekonstruktion einer mittelalterlichen Improvisationspraxis in der Musik der Ost- & Westkirche | Humboldt University | July 2006 | Gersh, Jason A
| Text-Setting in William Byrd's Liber primus sacrarum cantionum quinque vocum (1589): Toward an Analytic Methodology | University of North Carolina at Chapel Hill | December 2006 | Geyer, Benjamin M.
| Meter, Phrase, and Form in the Compositions of Maria Schneider | University of Kentucky | April 2016 | Giovinazzo, Joseph
| Timbral Design of Primary Melody in the First Movement of Bartok's Concerto for Orchestra | La Trobe University | June 1992 | Gleason, Scott M.
| Princeton Theory\'s Problematics | Columbia University | October 2013 | Gloag, Kenneth
| Structure, Syntax and Style in the Music of Stravinsky | University of Exeter | February 1995 | Goldenberg, Yosef
| Prolongation of Seventh Chords in Tonal Music | Hebrew University, Jerusalem | December 2001 | Gollin, Edward H.
| Representations of Space and Conceptions of Distance in Transformational Music Theories | Harvard University | June 2000 | Gonzales, Cynthia I.
| Text-Music Relationships in the Early Songs of Arnold Schoenberg | Harvard University | October 2005 | 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 (Paris) | June 1997 | Gonzalez-Lizausaba Oswaldo
| L'analyse ondulatoire : une approche morphologique de l'analyse musicale | Doctor in Arts & Sciences of art - Université de Paris 1 | March 2010 | Gosman, Alan R.
| Compositional Approaches to Canons from Ockeghem to Brahms | Harvard University | August 2000 | 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 Variations | University of Memphis | April 2009 | Grant, Aaron B.
| Schubert\'s Three-Key Expositions | Eastman School of Music | June 2018 | Greitzer, Mary L
| Tormented Voices | Harvard University | August 2007 | Grossman, E. Lary
| Fugal Procedures in the Symphonies of Joseph Haydn | Northwestern University | December 1993 | Grove, Paul R.
| Doctrine of the Canon: An Annotated Translation of the Second Counterpoint Book of Sergei Ivanovich Taneev | University of Arizona | January 1996 | Guerra, Stephen P.
| Expanded Meter and Hemiola in Baden Powell\'s Samba-Jazz | Yale University | April 2018 | Guez, Jonathan
| Schubert's Recapitulation Scripts | Yale University | March 2015 | 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 | April 1996 | Hafner, Everett
| Time Divided | University of Massachusetts at Amherst | August 1995 | Hamm, Chelsey L
| Charles Ives and Democracy: Association, Borrowing, and Treatment of Dissonance in His Music | Indiana University | December 2016 | Hannaford, Marc E
| One Line, Many Views: Perspectives on Music Theory, Composition, and Improvisation through the Work of Muhal Richard Abrams | Columbia University | June 2019 | Hannon, Andrew C
| EXPANSION AND CONTRACTION IN MOVEMENTS I AND VII OF GYÖRGY LIGETI’S HAMBURG CONCERTO | University of South Carolina | April 2014 | 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 | Hare, Belva Jean
| The Uses and Aesthetics of Musical Borrowing in Erik Satie’s Humoristic Piano Suites, 1913-1917 | University of Texas at Austin | December 2005 | Harley, Konrad
| Harmonic Function in the Music of Sergei Prokofiev | University of Toronto | April 2014 | Harley, Maria, A.
| Space and spatialization in contemporary music: History and analysis, ideas and implementations | McGill University | June 1994 | Harper, Steven A.
| Minimal Interval Content Descriptions | University of Texas at Austin | May 1994 | Härpfer, Bernd
| The Metric Malleability and Ambiguity of Cyclic Rhythms | University of Music, Karlsruhe, Germany | September 2020 | Harris, Joseph H.
| Harmony in Olivier Messiaen's Eclairs sur l'Au-Dela | University of Iowa | September 2000 | Hastings, Charise Y.
| The Performer's Role: Storytelling in Ballades of Chopin and Brahms | University of Michigan--Ann Arbor | April 2006 | Hauck-Silva, Caiti
| Diction, Expressivity and Conductor’s Choices in Choral Works Sung in German: Discussing Relationships Between Writings and Recordings | University of São Paulo | March 2017 | Heap, Matthew
| Keep Going: Narrative Continuity in Luciano Berio\'s Sinfonia AND Dillinger: An American Oratorio | University of Pittsburgh | April 2012 | Heinzelmann, Sigrun B
| Sonata Form in Ravel's Pre-War Chamber Music | CUNY Graduate Center | February 2008 | Helmcke, William M.
| Structure and Meaning in Fryderyk Chopin's Polonaises | University of Massachusetts Amherst | April 2022 | Herlin, Thomas R.
| Carl Ruggles and the Viennese Tradition: A Comparative Analysis | University of Illinois at Urbana-Champaign | April 2000 | Hibberd, Kristian P. G.
| Shostakovich and Bakhtin: A Critical Investigation of the Late Works (1974-1975) | Goldsmiths College, University of London | June 2005 | Hill, David S.
| The Persistence of Memory: Mode, Trope, and Difference in the Passion Chorale | SUNY at Stony Brook | April 1994 | Hoag, Melissa E.
| Multiply-Directed Moments in the Music of Brahms | Indiana University | May 2008 | Hoch, Matthew
| "The Structural and Dramatic Role of the Piano in Richard Strauss's Krämerspiegel, Op. 66" | New England Conservatory | December 2006 | Hodson, Robert D.
| Interaction and Improvisation: Group Interplay in Jazz Performance | University of Wisconsin--Madison | August 2000 | Hoffman, Stanley M.
| Extended Tonality and Voice Leading in Twelve Songs, Op. 27 by Alexander Zemlinsky | Brandeis University | February 1993 | Hoffmann, Peter
| Music Out of Nothing? The Dynamic Stochastic Synthesis: a Rigorous Approach to Algorithmic Composition by Iannis Xenakis | Technische Universitaet Berlin | January 1998 | Hoffmann, Peter
| Music Out of Nothing? A Rigorous Approach to Algorithmic Composition by Iannis Xenakis | Technische Universit | December 2009 | Hook, Julian L.
| Uniform Triadic Transformations | Indiana University | May 2002 | Hooper, Jason A.
| Heinrich Schenker’s Early Approach to Form, 1895–1921: Implications for His Late Work and Its Reception
| CUNY Graduate Center | February 2017 | Hosken, Fred
| The Pocket: A Theory of Beats as Domains | Northwestern University | August 2021 | Hudlow, Adam M.
| HARMONY, VOICE LEADING, AND DRAMA IN THREE SONDHEIM MUSICALS | Louisiana State University | December 2013 | Hudson, Stephen S.
| Feeling Beats and Experiencing Motion: A Construction-Based Theory of Meter | Northwestern University | May 2019 | Hughes, Bryn
| Harmonic Expectation in Twelve-Bar Blues Progressions | Florida State University | August 2011 | Huguet, Joan C
| Formal Functions and Voice-Leading Structures in Beethoven’s Early Sonata-Rondo Finales
| Eastman School of Music | April 2015 | Hunt, Graham G.
| \"Ever New Formal Structures\": The Evolution of the Dialogue-Scene in Wagner\'s Lohengrin | Duke University | May 2001 | 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 | December 1996 | Igoudin, Lane
| Impact of MIDI on Electroacoustic Art Music | Stanford University | June 1997 | Iker, Sarah M.
| An Experience-Oriented Approach to Analyzing Stravinsky\'s Neoclassicism | University of Chicago | August 2017 | Ilomäki, Tuukka
| On the Similarity of Twelve-Tone Rows | Sibelius Academy | April 2008 | Isaacson (Gozali) Atara
| Cantabile in the Romantic Piano Concerti with Emphasis on Schumann, Liszt and Brahms | Bar Ilan University | November 2006 | Iverson, Jennifer
| Historical Memory and György Ligeti's Sound-Mass Music, 1958-1968 | University of Texas at Austin | May 2009 | Jacobus, Enoch S. A.
| A New Geometric Model and Methodology for Understanding Parsimonious Seventh-Sonority Pitch-Class Space | University of Kentucky | October 2012 | 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 | Jakubowski, Joseph R.
| Between Concept and Perception: Cognition, Experience, and Form in Spectral Music | Washington University in St. Louis | May 2019 | James, Emma R.
| Telling Tales: Narrative Semiotics in the Music of Béla Bartók | Eastman School of Music, University of Rochester | August 2016 | Jardim, Antonio
| Music: another density of real - to a philosophy of a substantive language | Conservatorio Brasileiro de Musica | March 1988 | Jedlicka, Jason R.
| Interpreting Steve Reich's Later Music (2007-2012) | Indiana University | November 2018 | 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 Composer | Louisiana State University | November 2007 | Johnson, Russell W.
| Essais sur les Principes de l'Harmonie by Jean-Adam Serre: An Annotated Translation | Florida State University | November 1994 | Johnson, Shersten R.
| Hearing the Unvoiceable: Writer's Block in Benjamin Britten's Death in Venice | University of Wisconsin--Madison | August 2002 | Joichi, Janet M.
| Closure, Context, and Hierarchical Grouping in Music: A Theoretical and Empirical Investigation | Northwestern University | June 2006 | 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 | August 2004 | Judd, Cristle Collins
| Aspects of Tonal Coherence in the Motets of Josquin | King's College, University of London | January 1993 | Julien, Patricia A.
| The Structural Function of Harmonic Relations in Wayne Shorter's Early Compositions: 1959-1963 | University of Maryland | May 2003 | Kaastra, Linda T.
| Systematic Approaches to the Study of Cognition in Western Art Music Performance | University of British Columbia | May 2008 | Kahr, Michael
| Aspects of Context and Harmony in the Music of Clare Fischer | University of Sydney | March 2009 | Kahrs, Noah L
| Composing (with) Theories of Acoustics and Pitch Perception After 1950 | Eastman School of Music | February 2024 | Kallis, Vasilis, C
| Modes of Cross-collectional Interaction: A Study of Four Collections in Music by Debussy, Ravel and Scriabin | University of Nottingham | October 2003 | Karamahmutoglu, Gulay
| Nr:1637 Hamparsum Notation Manuscripts at Istanbul Ataturk Library | ITU Institute of Social Science | December 1999 | Kelley, Robert T.
| Modulo-Seven Transformations in Post-Functional Music | Florida State University | April 2005 | Khannanov, Ildar
| Russian Methodology of Music Theory and Analysis | University of California, Santa Barbara | December 2003 | Kievman, Carson
| Ockeghem and Ligeti: The Music of Transcendence | Princeton University | June 2003 | Kim, Jung-Jin
| A Barthesian Analysis of Britten's The Holy Sonnets of John Donne, Op. 35 | University of Wisconsin-Madison | December 1996 | Kim, Kristal B.
| Emma Lou Diemer’s Solo Piano Works Through 2010: A Study of Pedagogy and Performance in the Context of 20th- and 21st-Century Music Making
| University of Cincinnati, College-Conservatory of Music | July 2012 | Kinne, Jesse
| Tresillo Rhythms as Groove Schemata | University of Cincinnati | July 2023 | Kinton, Leslie
| A Documentary Study and Schenkerian Analysis of Dvořák’s Symphony in D minor, op. 70 | University of Toronto | November 2008 | Kizas, Andrew J.
| From Octatonicism to Dodecaphony: A Study of Pitch Organization in Selected Works by Donald Martino | University of Western Ontario | December 2004 | Klein, Michael
| A Theoretical Study of the Late Music of Witold Lutoslawski: New Interactions of Pitch, Rhythm, and Form | SUNY Buffalo | May 1995 | Kleppinger, Stanley V
| Tonal Coherence in Copland's Music of the 1940s | Indiana University | May 2006 | Klorman, Edward
| Multiple Agency in Mozart\'s Chamber Music | CUNY Graduate Center | January 2013 | Klug, Gregory Kyle
| A Study of Two Biblical Choral Symphonies with an Original Composition | University of Northern Colorado | April 2012 | Kochavi, Jonathan, H.
| Contextually Defined Musical Transformations | SUNY Buffalo | April 2002 | Konov Yavor S.
| The first treatise of harpsichord "Les Principes du Clavecin" by Saint Lambert (Paris, M. DCCII) | State Academy of Music | September 1997 | Konstantinou, Elena
| Nikos Skalkottas: The Piano Music | University of Reading, Reading, U.K. | October 2001 | Korstvedt, Benjamin Marcus
| The First Edition of Anton Bruckner's Fourth Symphony: Authorship, Production and Reception | University of Pennsylvania | May 1995 | Kosovsky, Robert
| Bernard Herrmann's Radio Music for the Columbia Workshop | Graduate Center, the City University of New York | September 2000 | Kovaciny, Stephen M.
| Chabanon, Rameau, and the Listening Body in Early Modern France | University of Wisconsin–Madison | November 2019 | Krumbholz, Jay
| Friedrich Wilhelm Marpurg's Abhandlung von der Fuge | University of Rochester | August 1994 | Kurth, Richard B.
| Mosaic Isomorphism and Mosaic Polyphony: Balance and Imbalance in Schoenberg's Twelve-tone Rhetoric | Harvard University | April 1993 | Kuusi, Tuire
| Set-Class and Chord: Examining Connection between Theoretical Resemblance and Perceived Closeness | Sibelius Academy | November 2001 | Kwan, Kenneth
| Compositional Design in Recent Works of Chou Wen Chung | SUNY Buffalo | September 1995 | Kye, Hee Seng
| The Third Voice: Anima as Drama in Mozart\'s Operas | The University of Hong Kong | May 2015 | LaCour, Darren A.
| The Long-Playing Ellington: Analyzing Composition and Collaboration in the Duke Ellington Orchestra | Washington University in St. Louis | April 2016 | Lai, Eric C.
| A Theory of Pitch Organization in the Early Music of Chou Wen-chung | Indiana University | May 1994 | Laine, Pauli A.
| A Method for Musical Motion Patterns | University of Helsinki | April 2000 | Lam, Nathan L.
| RELATIVE DIATONIC MODALITY IN EXTENDED COMMON-PRACTICE MUSIC | Indiana University, Bloomington | July 2019 | Lapidaki, Eleni
| Consistency of Tempo Judgments as a Measure of Time Experience in Music Listening | Northwestern University, School of Music | June 1996 | Laurence Sinclair Willis
| When Materials Collide: Formal Interplay in Teernary Piano Works of the Late Nineteenth Century | McGill University | November 2019 | Laurson, Mikael
| "PATCHWORK: A Visual Programming Language and some Musical Applications" | Sibelius Academy | April 1996 | Lavacek, Justin
| Contrapuntal Confrontation and Expressive Signification in the Motets of Machaut | Indiana University | December 2011 | Lavengood, Megan L.
| A New Approach to the Analysis of Timbre | City University of New York | May 2017 | Lawrence, John Y.
| Listening in Color: Sonority, Style, and Meaning in Europe 1760–1830 | University of Chicago | August 2020 | Leaman, Kara Yoo
| Analyzing Music and Dance: Balanchine’s Choreography to Tchaikovsky and the Choreomusical Score | Yale University | October 2016 | Lee, Dickie C.
| An Agential Exploration of Tragedy and Irony in Post-1945 Orchestral Works | Florida State University | March 2017 | Lehman, Frank M
| Reading Tonality Through Film: Transformational Hermeneutics and the Music of Hollywood
| Harvard University | May 2012 | Leinberger, Charles F.
| An Austrian in Hollywood: Leitmotifs, Thematic Transformation & Key Relationships in Max Steiner\'s 1942 Film Score, Now, Voyager | The University of Arizona | December 1996 | Leinberger, Charles, F.
| "An Austrian in Hollywood: Leitmotifs and Thematic Transformation in Max Steiner's Film Score 'Now, Voyager'" | University of Arizona | May 1996 | Lemieux, Glenn C.
| "Music in Twelve Parts" by Philip Glass: Reconstruction, Construction and Deconstruction | University of Iowa | June 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 | April 1999 | Lerch, Alexander
| Software-Based Extraction of Objective Parameters from Music Performances | Technical University Berlin | November 2008 | Lett, Stephen
| The Psychedelic Listener: Theorizing Music in Therapeutic Practice | University of Michigan | May 2019 | Letts, Marianne Tatom
| "How to Disappear Completely": Radiohead and the Resistant Concept Album | University of Texas at Austin | December 2005 | Lewis, Kate G.
| Mothers and Sisters: Instrument and Idiom in the Music of Maybelle Carter, Memphis Minnie and Sister Rosetta Tharpe | University of Surrey | August 2018 | Leydon, Rebecca V.
| Narrative Strategies and Debussy's Late Style | McGill University | December 1996 | 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 | Lilja, Esa
| Theory and Analysis of Classic Heavy Metal Harmony | University of Helsinki | October 2009 | Lima, Paulo C.
| Surface and Structure in the Music of Ernst Widmer: Octatonic Compositional Strategies | Universidade de São Paulo (USP - Brasil) | October 2000 | Lin, Pin Hsin
| Synergies between East Asian and Western Classical Musical Aesthetics | University of California, Los Angeles | November 2016 | Lin, Wei-Chieh
| In Search of Time: Musical Time and Form in Dérive 2 by Pierre Boulez | The Juilliard School | May 2012 | Lind, Stephanie K
| Replicative Network Structures: Theoretical Definitions and Analytical Applications | University of British Columbia | January 2009 | Link, John, F.
| Long-Range Polyrhythms in Elliott Carter's Recent Music | City University of New York | January 1994 | Linklater, Mary L.
| From Procedure to Technique: Canonic Works of the Fifteenth Century | University of Rochester | May 2001 | Lippus, Urve
| Linear Musical Thinking | University of Helsinki | April 1995 | Lipscomb, Scott D.
| Cognition of musical and visual accent structure alignment in film and animation | University of California, Los Angeles | March 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 | July 1997 | Lopes, Eduardo
| Just In Time: towards a theory of rhythm and metre | University of Southampton | March 2003 | Lorenz, Ralph
| Pedagogical Implications of musica practica in Sixteenth-Century Wittenberg | Indiana University | March 1994 | Losada, C. Catherine
| A Theoretical Model for Collage in Music Derived from Selected Works by Berio, Zimmermann and Rochberg | City University of New York Graduate Center | August 2004 | Louden, Sarah J
| Cross-Sensory Perception in Music and Visual Media: A Neurocognitive Approach to Multimedia Counterpoint | University at Buffalo SUNY | April 2018 | Love, Stefan E
| On Phrase Rhythm in Jazz | University of Rochester | April 2011 | Lowe, Bethany L.
| Performance, Analysis, and Interpretation in Sibelius's Fifth Symphony | University of Southampton | November 2000 | Luchese, Diane
| Olivier Messiaen's Slow Music: Glimpses of Eternity in Time | Northwestern University | May 1998 | Ludwig, Alexander R
| Three-Part Expositions in the String Quartets of Joseph Haydn | Brandeis University | August 2010 | Lukas Gabric
| Coltrane Plays the Blues: Multi-Level Coherence and Stylistic Tendencies | The CUNY Graduate Center | September 2020 | Lundberg, Mattias O.
| The Tonus Peregrinus in the Polyphony of the Western Church | University of Liverpool | June 2007 | Lyons, Megan E.
| Unsung: A Corpus Study on the Art Songs of Amy Beach | University of Connecticut | May 2022 | MacKay, James S.
| Motivic Structure and Tonal Organization in Selected Motets of William Byrd | McGill University | August 1999 | Mailman, Joshua B.
| Temporal Dynamic Form in Music: Atonal, Tonal, and Other | Eastman School of Music, University of Rochester | April 2010 | Mak, Su Yin
| Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert | Eastman School of Music | January 2009 | Mak, Su Yin.
| Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert | Eastman School of Music | December 1997 | Malawey, Victoria L.
| Temporal Process, Repetition, and Voice in Björk's Medúlla | Indiana University Bloomington | December 2007 | MANICA, Solon Santana
| Musical Interpretation and Narrativity: study applied to Aboio Op.65 for solo flute by Paulo Costa Lima | Universidade Federal da Bahia | September 2016 | 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. 9 | University of Utah | August 2014 | Marlowe, Sarah R.
| Fugue in Context: A Schenkerian Approach to Select Works by J.S. Bach and Dmitri Shostakovich | Eastman School of Music of the University of Rochester | October 2013 | Martens, Peter A.
| Beat-Finding, Listener Strategies, and Musical Meter | University of Chicago | June 2005 | Martins, José Oliveira
| Dasian, Guidonian, and other Affinity Spaces in Twentieth-Century Music | University of Chicago | March 2006 | Maxwell, Braden N.
| Designated Qualities: A New Approach to the Music of Maurice Ravel | University of Rochester: Eastman School of Music | November 2022 | Mayr, Desirée J
| The Identification of Developing Variation in Johannes Brahms OP.78 and Leopoldo Miguéz OP.14 Violin Sonatas Through Derivative Analysis
| Federal University of Rio de Janeiro | July 2018 | McCallum, Peter, H.J.
| The Analytical Significance of Beethoven's Sketches for the String Quartet in F major, opus 135 | University of Sydney | March 1995 | McCandless, Gregory R.
| Rhythm and Meter in the Music of Dream Theater | Florida State University | January 2010 | McClatchie, Stephen
| Alfred Lorenz as Theorist and Analyst | The University of Western Ontario | April 1994 | McDonnell, Cari E
| Genre in Context: the Musical in Classical Hollywood | The University of Texas at Austin | August 2015 | 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 | February 1994 | McGinness, John, R.
| "Playing with Debussy's Jeux: Music and Modernism" | University of California, Santa Barbara | September 1996 | McGowan, James J
| Dynamic Consonance in Selected Piano Performances of Tonal Jazz | University of Rochester | February 2005 | McKee, Eric, J.
| The Interaction of Tonal Structure and Phrase Structure as an Aspect of Form in Tonal Music | University of Michigan | April 1994 | Mengozzi, Stefano
| Between Humanistic Ideals and Scientific Thought in Glareanus's Dodecachordon
| University of Chicago | March 1997 | Metz, Andreas
| Temporality, Pace, and Formal Structure in Selected Passages from Brahms\'s Adagio Genre | Indiana University | May 2014 | Meyer, Kati M
| Emotion in the Music of Elton John | University of Iowa | May 2016 | Michaelsen, Garrett
| Analyzing Musical Interaction in Jazz Improvisations of the 1960s | Indiana University | July 2013 | Momii, Toru
| Music Analysis and the Politics of Knowledge Production : Interculturality in the Music of Honjoh HidejirÅ, Miyata Mayumi, and Mitski | Columbia University | July 2021 | Mooney, Kevin
| The Table of Relations and Music Psychology in Hugo Riemann's Harmonic Theory | Columbia University | December 1995 | Moreira, Daniel
| TEXTURAL DESIGN: A Compositional Theory for the Organization of Musical Texture | Federal University of Rio de Janeiro | October 2019 | Moreno, Enrique I.
| Embedding Equal Pitch Spaces and The Question Of Expanded | Stanford University | December 1995 | Morrison, Landon
| "Sounds, Signals, Signs: Transductive Currents in Post-Spectral Music at IRCAM" | McGill University, Schulich School of Music | January 2020 | Morse, Michael William
| The Tune in Jazz as a Social Process--Prolegomena to a Sociology of Music | York University | April 1996 | Moseley, Brian C.
| Twelve-Tone Cartography: Space, Chains and Intimations of \'Tonal Form\' in Webern\'s Twelve-Tone Music | CUNY Graduate Center | August 2013 | Mosher, David R.
| Implicit Learning As A Means Of Tonal Jazz Pitch-Listening Skills Acquisition | University of Massachusetts Amherst | November 2018 | Motazedian, Tahirih
| To Key or Not to Key: Tonal Design in Film Music | Yale University | December 2016 | Mullin, Carolyn D.
| Global Coherence in Selected Atonal Works of Anton Webern | University of Oregon | June 2005 | Murphy, Nancy E.
| \"The Times They Are A-Changin\'\": Flexible Meter and Text Expression in 1960s and 70s Singer-Songwriter Music | The University of British Columbia | December 2015 | 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 Austin | May 1995 | Mutch, Caleb M
| Studies in the History of the Cadence | Columbia University | June 2015 | Naxer, Meghan
| Malleable Mindsets: Rethinking Instructional Design in Undergraduate Music Theory | University of Oregon | June 2016 | Nelson, Mark, D
| Quieting the Mind, Manifesting Mind: The Zen Buddhist Roots of John Cage's Early Chance-Determined and Indeterminate Compositions | Princeton University | February 1995 | Nelson, Richard B.
| Theories of Harmonic Modulation in Selected German Treatises of the Eighteenth Century | Eastman School of Music | December 1983 | Nelson, Thomas K.
| The Fantasy of Absolute Music | University of Minnesota | June 1998 | Newton, Alex
| Semiotics of Music, Semiotics of Sound, and Film: Toward a Theory of Acousticons | The University of Texas-Austin | June 2015 | Ng, Samuel
| A Grundgestalt Interpretation of Metric Dissonance in the Music of Johannes Brahms | Eastman School of Music, University of Rochester | July 2005 | Nicholson, G. Gordon
| The Experience of Successful Contemporary Classical Musical Composition for Non-Computer-Assisted Performance: A Qualitative Study | Saybrook Institute, San Francisco, CA | November 1997 | Nivans, David B.
| Brahms and the Binary Sonata: A Structuralist Interpretation | University of California, Los Angeles | January 1992 | Nobile, Drew F.
| A Structural Approach to the Analysis of Rock Music | CUNY Graduate Center | December 2013 | Noll, Thomas
| Morphologische Grundlagen der abendlaendischen Harmonik (Morphological Foundations of Occidental Harmony) | Technical University of Berlin | July 1995 | Novak, John, K.
| The Programmatic Orchestral Works of Leos Janacek: Their Style And Their Musical and Extramusical Content | The University of Texas at Austin | May 1994 | 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. Nigeria | August 2008 | O Maidin, Donncha Sean
| A Programmer's Environment for Music Analysis | National University of Ireland at University College Cork | October 1995 | O'Donnell, Shaugn J.
| Transformational Voice Leading in Atonal Music | City University of New York | March 1997 | Obluda, Daniel C
| Topics in Hollywood Scores: Using Topic Theory to Expand on Recent Neo-Riemannian Analyses of Film Music | University of Colorado Boulder | May 2021 | Ofcarcik, Judith
| A Structural-Aesthetic Study of the Variation Movements of Beethoven\'s Late Period\" | Florida State University | May 2013 | Ohriner, Mitchell S.
| DURATIONAL CONTOURS AND ENACTED MEANING IN RECORDED PERFORMANCES OF CHOPIN’S PIANO MUSIC | Indiana University | July 2011 | 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 Helsinki | February 2017 | Oravitz, Michael
| Metric Patterning and its Effects on Phrasing and Form in Selected Debussy Preludes | Indiana University | July 2005 | Orosz, Jeremy W
| Translating Music Intelligibly:
Musical Paraphrase in the Long 20th Century | University of Minnesota | December 2013 | Osborn, Brad T.
| Beyond Verse and Chorus: Experimental Formal Structures in Post-Millennial Rock Music | University of Washington | June 2010 | O\'Hara, William E.
| The Art of Recomposition: Creativity, Aesthetics, and Music Theory | Harvard University | May 2017 | Pacun, David E.
| Large-scale Form in Selected Variation Sets of Johannes Brahms | University of Chicago | December 1998 | Paget, Laurie
| The Madrigals of Marc'Antonio Ingegneri | University of London | June 1995 | Paley, Elizabeth S.
| Narratives of 'Incidental' Music in German Romantic Theater | University of Wisconsin-Madison | July 1998 | Palfy, Cora S.
| Musical Agency as Intersubjective Phenomenon | Northwestern University | April 2015 | Palmer, James K N
| Form-Functional and Topical Sources of Humour in Classical Instrumental Music | University of British Columbia | August 2015 | Palombini, C. V.
| Pierre Schaeffer's Typo-Morphology of Sonic Objects | University of Durham | September 1992 | Pausina, Melissa A
| "Bartleby": An Intertextual Music Drama. | Temple University | January 2010 | Pellegrin, Richard S.
| On Jazz Analysis: Schenker, Salzer, and Salience | University of Washington | June 2013 | Perlman, Marc A.
| Unplayed Melodies: Music Theory in Postcolonial Java | Wesleyan University | August 1993 | Peter M. van Tour
| Counterpoint and Partimento: The Teaching of Composition in Late Eighteenth-Century Naples. | Uppsala University | May 2015 | Peterson, John R
| NTENTIONAL ACTIONS: A THEORY OF MUSICAL AGENCY | Florida State University | December 2014 | Petrocelli, Paolo
| William Walton and the Violin Concerto in England between the 1900 and 1940 | University of Rome | December 2007 | Polyvios, Androutsos
| Development and Experimental Implementation of a Model of Teaching the History of Music in Secondary Education | Aristotle University of Thessaloniki | December 2002 | Porterfield, Richard
| Melodic Function and Modal Process in Gregorian Chant | CUNY Graduate Center | December 2013 | Posen, Thomas W
| Analyzing Beethoven's Eroica Sketches: A Form-Functional Perspective on the First-Movement Exposition | McGill University | September 2022 | 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 University | May 2007 | Poudrier, Ève
| Toward a general theory of polymeter: Polymetric potential and realization in Elliott Carter's solo and chamber instrumental works after 1980 | City University of New York | September 2008 | Power, Richard S.
| 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 | University of Oxford | March 1995 | Prosser, Simon KS
| A Schema-Theoretic Approach to Hierarchy in Eighteenth-Century Tonality | The Graduate Center, The City University of New York | May 2021 | Pye, Richard, C.
| The Music of William Schuman | University of Newcastle | January 1999 | Pymm, John M
| Narrative Trails in the Speech-Based Music of Steve Reich | University of Southampton | July 2013 | Quaglia, Bruce, W.
| Compositional Practice and Analytic Technique; Schoenberg’s Atonal Works: Reconciling Approaches to Sets, Lines and Developing Variation | University of Utah | October 1998 | Rabinovitch, Gilad
| Tracing Galant Threads: Gjerdingen\'s Schemata and the Evolution of Musical Form, 1730-1780 | Eastman School of Music, University of Rochester | July 2015 | Raickovich, Milos
| Einstein on the Beach" by Philip Glass: A Musical Analysis | City University of New York | May 1994 | Randall, Richard R.
| A General Theory of Comparative Music Analysis | University of Rochester, Eastman School of Music | May 2006 | Ratay, Elizabeth L
| To Be Reflected | University of California, Santa Cruz | December 2013 | Reddick, Carissa A
| Formal Fusion and Rotational Overlap in Sonata Forms from the Chamber Music of Brahms, Dvořák, Franck, and Grieg
| University of Connecticut | November 2009 | Reenan, Sam
| Analytical Problems of Aesthetics, Genre, and Large-Scale Form in Germanic Music, 1905–15 | Eastman School of Music, University of Rochester | May 2021 | Reese, Alan M.
| Analytical Approaches to the Middle-Period Compositions of Karol Szymanowski | Eastman School of Music, University of Rochester | June 2018 | REGO, Eusiel
| Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart: uma abordagem estético-analítica | University of São Paulo | October 2012 | Reid, Leah C
| Composing Timbre Spaces, Composing Timbre in Space: An Exploration of the Possibilities of Multidimensional Timbre Representations and their Compositional Applications | Stanford University | June 2013 | Remeš, Derek K.
| Thoroughbass, Chorale, and Fugue: Teaching the Craft of Composition in J. S. Bach's Circle | Hochschule für Musik Freiburg (Germany) | July 2020 | Reymore, Lindsey
| Empirical approaches to timbre semantics as a foundation for musical analysis | Ohio State University | April 2020 | Ricci, Adam
| A Theory of the Harmonic Sequence | Eastman School of Music, University of Rochester | May 2004 | Richards, Mark C.
| Analyzing Tension and Drama in Beethoven’s First-Movement Sonata Forms | University of Toronto | April 2011 | Richards, William H.
| Transformation and Generic Interaction in the Early Serial Music of Igor Stravinsky | University of Western Ontario | June 2003 | 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 University | May 1996 | Riddick, Frank C.
| An Analytical Study of Zemlinsky's Second String Quartet | University of Colorado, Boulder | May 1994 | Rifkin, Deborah
| Tonal Coherence in Prokofiev's Music: A Study of the Interrelationships of Structure, Motives, and Design | Eastman School of Music | April 2000 | Riley, Matthew J
| Attentive Listening: The Concept of Aufmerksamkeit and its Significance in German Musical Thought, 1770-1790 | University of London | June 2000 | Ripley, Angela N.
| Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
| The Ohio State University | July 2015 | 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 Montreal | September 1996 | Robison, Brian Carl
| Carmen arcadiae mechanicae perpetuum: Toward a methodology for analyzing Harrison Birtwistle\'s music since 1977 | Cornell University | August 1999 | Rockwell, Joti
| Drive, Lonesomeness, and the Genre of Bluegrass Music | University of Chicago | June 2007 | Rodrigues, Higo H
| EDWARD ELGAR’S EXTENDED TONAL PROCEDURES—AN INQUIRY INTO ELGAR’S CHROMATIC REALM | University of Kentucky | December 2014 | Rogers, Nancy M.
| The Role of Verbal Encoding in Memory for Musical Timbre and Pitch Patterns | University of Rochester | July 2000 | Roller, Jonathan B
| An Analysis of Selected Movements from the Symphonies of Charles Ives Using Linear and Set Theoretical Analytical Models | University of Kentucky | October 1995 | Romig, James
| Twelve-Tone Rhythmic Structure and its Application to Form: Time-Point Nesting and Rotation in 'Spin' | Rutgers University | April 2000 | Rosenberg, Nancy E.
| From Rock Music to Theory Pedagogy: Rethinking U.S. College Music Theory Education from a Popular Music Perspective | Boston University | January 2010 | Rosenhaus, Steven L.
| Harmonic Motion in George Perle's Wind Quintet No.4 | New York University | May 1995 | 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 | Rothstein, Evan J.
| The Tradition of Developing Variation and the Problem of ‘Folkloristic’ Music in Ives’s First Violin Sonata | Indiana University | May 2001 | Roy, Adam J.
| Motivic Metamorphosis: Modelling Intervallic Transformations in Schoenberg’s Early Works | Western University | February 2021 | Roy, Subroto, M C
| Examining Avartan in Khayal | University of Pune, India | May 2008 | Rubin, Anna, I.
| Forêt Profonde: The Narrative, Sonic and Reception Design of Francis Dhomont's Forêt Profonde | Princeton University | January 1999 | Rudman, Jessica L.
| Common-tone Preserving Contextual Inversions in the Music of Ellen Taaffe Zwilich | The Graduate Center, City University of New York | April 2015 | Rupprecht, Philip, E.
| Tonal Stratification and Conflict in the Music of Benjamin Britten | Yale University | November 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 | July 1993 | Rust, Douglas, M.
| A Theory of Form for Lutoslawski's Late Symphonic Works | Yale University | September 1994 | Sabin, Robert W
| GARY PEACOCK: ANALYSIS OF PROGRESSIVE DOUBLE BASS IMPROVISATION 1963-1965 | New York University | January 2015 | Sachania, Millan
| The Arrangements of Leopold Godowsky: An Aesthetic, Historical, and Analytical Study | University of Cambridge, England | July 1997 | Salamone, Jennifer L.
| Misbehaving Minuets: A Preliminary Theory of Humor and Dance Form in Haydn\'s Opp. 76 and 77 | University of Kentucky | April 2017 | Sampaio, Marcos da Silva
| The Musical Contour Relations Theory: inconsistencies, solutions and tools | Universidade Federal da Bahia | December 2012 | Samplaski, Arthur G.
| A Comparison of Perceived Chord Similarity and Predictions of Selected Twentieth-Century Chord-Classification Schemes, Using Multidmensional Scaling and Cluster Analysis | Indiana University | April 2000 | Samuels, Robert
| Semiotics and Mahler: Analyses of Musical Signification in the Sixth Symphony | Cambridge University | September 1993 | Sandell, Gregory, J.
| Concurrent Timbres in Orchestration: A Perceptual Study of Factors Determining 'Blend' | Northwestern University | December 1991 | Sant \' Ana, Edson Hansen
| Intervalar Expressivity in the Almeida Prado\'s Poesilúdios | Universidade de BrasÃlia (UnB) | August 2009 | Santa, Matthew S.
| Studies in Post-Tonal Diatonicism: A Mod7 Perspective | City University of New York | May 1999 | Saunders, Michael, D.
| A Computer-based Notation for the Process of Musical Composition | University of Wales, Cardiff | September 1998 | Schubert, Joseph E.
| The Solo Organ Works of Jean-Jacques Grunenwald:
Style Analysis and Context within the Twentieth-century French Organ Culture | Claremont Graduate University | October 2018 | Schuijer, Michiel
| Pitch-Class Set Theory and the Construction of Musical Competence | University of Utrecht | September 2005 | Schultz, Rob
| A Diachronic-Transformational Theory of Musical Contour Relations | University of Washington | June 2009 | Schumann, Scott C.
| Making the Past Present: Topics in Stravinsky’s Neoclassical Works | The University of Texas at Austin | April 2015 | Scotto, Ciro, G.
| Can Non-Tonal Systems Support Music as Richly as Tonal Systems? | University of Washington | December 1995 | Scrivener, Julie A.
| Representations of Time and Space in the Player Piano Studies of Conlon Nancarrow | Michigan State University | May 2002 | 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. London | July 2006 | Sekula, Kate A.
| Utilizing Computer Programming to Analyze Post-Tonal Music: A Segmentation and Contour Analysis of Twentieth-Century Music for Solo Flute | University of Connecticut | December 2014 | Seltzer, Linda, A.
| The Unblinking Eye, Literary Theory in the Analysis of Debussy's Pelleas et Melisande | Princeton University | unspecified | 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 University | January 2007 | Serebrennikov, Maxim
| The Keyboard Thorough-bass Fugue of the Baroque Era | The State Institute of Art Studies, Moscow | October 2013 | Sheehan, Paul J.
| Twelve-Tone Enitities, Inquisitorial Mind, and the Network Model of the Multitude: Analyzing Luigi Dallapiccola's Il prigioniero | Columbia University | November 2007 | Sheinberg, Ester
| The Semantics Of Irony In Shostakovich | University Of Edinburgh, Scotland | June 1995 | Shelley, Peter J
| Rethinking Minimalism: At the Intersection of Art and Music | University of Washington | June 2013 | Sherrill, Paul M.
| The Metastasian Da Capo Aria: Moral Philosophy, Characteristic Actions, and Dialogic Form | Indiana University | May 2016 | Short, Rachel E.
| Musical Feet: The Interaction of Choreography and Music in Leonard Bernstein and Jerome Robbins’s Ballet Fancy Free | University of California, Santa Barbara | September 2016 | Silberman, Peter S.
| Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal Music | Eastman School of Music | May 2006 | Simpson, Jasba
| Cochlear Modeling of Sensory Dissonance and Chord Roots | University Of Waterloo | April 1994 | Siu, Joseph Chi-Sing
| Phrase-Rhythmic Norms in Haydn’s and Mozart’s Piano Sonata Expositions | Eastman School of Music | April 2020 | Sivy, Robert J.
| Exposing Corruption in Progressive Rock: A Semiotic Analysis of Gentle Giant's The Power and the Glory | University of Kentucky | November 2019 | Slottow, Stephen P.
| A Vast Simplicity: Pitch Organization in the works of Carl Ruggles | Graduate Center, City University of New York | April 2001 | Smith, Kathleen Biddick
| Musical Process in Selected Works by Michael Torke | Florida State University | May 2009 | Smither, Sean R
| Conceptualizing Tunes: Avant-textes, Referents, and the Analysis of Musical Structure in Jazz | Rutgers University | May 2020 | Sofer, Danielle, S
| Making Sex Sound: Erotic Currents in Electronic Music | University of Music and Performing Arts Graz | June 2016 | Solomon, Jason W.
| Spatialization in Music: The Analysis and Interpretation of Spatial Gestures | University of Georgia | May 2007 | Solomon, Larry Joseph
| Symmetry as a Determinant of Musical Composition | West Virginia University | February 1973 | Spicer, Mark
| British Pop-Rock Music in the Post-Beatles Era: Three Analytical Studies | Yale University | December 2001 | Spicker, Volker
| New Piano Improvisation | University of Giessen, Germany | December 1997 | Spiegelberg, Scott C.
| The Psychoacoustics of Musical Articulation | Eastman School of Music | January 2002 | Squibbs, Ronald, J.
| Analytical Issues in Recent Instrumental Works of Iannis Xenakis | Yale University | March 1996 | Steege, Benjamin A.
| Material Ears: Hermann von Helmholtz, Attention, and Modern Aurality | Harvard University | April 2007 | Steenstra, Sytze G.
| We Are The Noise Between Stations: A philosophical exploration of the work of David Byrne, at the crossroads of popular media | Maastricht University, The Netherlands | June 2003 | Steffen, Ralph Martin
| Metalogik: The Music Theory of Walter Harburger | University of California, Santa Barbara | June 1999 | Steinbeck, Paul
| Urban Magic: The Art Ensemble of Chicago's Great Black Music | Columbia University | May 2008 | Steven D. Mathews
| Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach | University of Cincinnati | March 2021 | Stocken, Frederick
| Anton Bruckner and Simon Sechter's Fundamental Bass Theory | Manchester University, UK | December 2007 | Stover, Chris
| A Theory of Flexible Rhythmic Spaces for Diasporic African Music | University of Washington | December 2009 | 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 | August 1994 | Svistoonoff, Katherine A.
| Cosmopolitanism in Two Twentieth-Century Piano Sonatas | University of Houston | January 2011 | Syroyid Syroyid, Bohdan
| Analysis of Silences in Music: Theoretical Perspectives, Analytical Examples from Twentieth-Century Music, and In-Depth Case Study of Webern’s Op. 27/iii
| KU Leuven | July 2020 | Tan, Daphne
| Ernst Kurth at the Boundary of Music Theory and Psychology | Eastman School of Music, University of Rochester | April 2013 | Taylor, Stephen Andrew
| The Lamento Motif: Metamorphosis in Ligeti's Late Style | Cornell University | May 1994 | Telesco, Paula J.
| Enharmonicism in Theory and Practice in 18th-Century Music | The Ohio State University | August 1993 | Thibodeau, Michael A
| Performance Approach in the Recorded History of Alban Berg\'s Piano Sonata, Op. 1 | University of Toronto | December 2017 | Thiebaut, Ines
| Symmetry and Interval Cycles in the Quartettos of Mario Davidovsky | CUNY Graduate Center | September 2016 | Thomas, Margaret E.
| Conlon Nancarrow's 'Temporal dissonance': Rhythmic and Textural Stratification in the Studies for Player Piano | Yale University | March 1996 | Thurmaier, David P
| Time and Compositional Process in Charles Ives's Holidays Symphony | Indiana University | May 2006 | 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 Oslo | August 1995 | Tobiason, Anders
| Non-Assimilation in Schubert Song | University of Wisconsin, Madison | April 2013 | 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 Tablature | Florida State University | March 2017 | Tong, Chee-yee, J.
| Separate Discourses: A Study of Performance and Analysis | University of Southampton | October 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 | Tucker, Gary R.
| Tonality and Atonality in Alban Berg's Four Songs, Op. 2 | University of Western Ontario | August 1995 | Turner, Mitchell M.
| Toward a General Theory of Pitch Structure: Unity Between Horizontal and Vertical Pitch-Class Sets | University of Georgia | December 1999 | Uno, Yayoi
| Avant-garde Music circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and Xenakis | University of Rochester | September 1993 | Utne-Reitan, Bjørnar
| Harmony in Conservatoire Education: A Study in the History of Music Theory in Norway | Norwegian Academy of Music | November 2022 | Väisälä, Olli
| Prolongation in Early Post-Tonal Music: Analytical Examples and Theoretical Principles | Sibelius Academy | June 2004 | Vachon, Pierre
| Study of titles in the Piano Works of Robert Schumann, their function and meaning | Universite de Montreal | May 1998 | Van Colle, S. J.
| Music therapy process with young people who have severe and multiple disabilities | University of Reading | January 2003 | Van Colle, Sue, J
| Music therapy process with cerebral palsied children: connections with psychoanalytic models, particularly that of Winnicott | University of Reading, Department of Music | October 1999 | van Tour, Peter M.
| Counterpoint and Partimento: Methods of Teaching Composition in Late
Eighteenth-Century Naples | Uppsala University, Sweden | May 2015 | Varney, John Charles
| Colombian Bambuco: The Evolution of a National Music Style | Griffith University | June 1999 | Vives, Thomas E.
| The Effect of Timbre on the Chord Identification Accuracy of Sophomore-Level College Music Theory Students | University of Florida | August 1998 | Vlagopoulos Panos
| Le noble rhetorique: Mental Models in the Song Production of Guillaume de Machaut | Ionion State University | June 1998 | Vojcic, Aleksandra
| Rhythms as Form: Rhythmic Hierarchy in Later Twentieth-Century Piano Music | Graduate Center CUNY | January 2009 | 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 Paradigms | Portland State University | December 2011 | Wacker, Lori J.
| Rhythmic and motivic procedures in selected late works of S.C. Eckhardt-Gramatte | Indiana University | May 1999 | Walker, Jonathan
| The Work-Concept in Music and Musicology: A Philosophical Study." (provisional title) Queen's University Belfast, School of Music, 1996 | Queen's University Belfast | September 1996 | Wang, Yuhwen
| The Value of Values: Value Judgment in Edward T. Cone's Music Analyses | Columbia University | December 1996 | Warrenburg, Lindsay A.
| Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology | Ohio State University | December 2019 | Waters, Keith, J.
| Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger | Eastman School of Music | January 1997 | Waters, William J.
| A Study of Temporal Change in the Recorded Performances of Igor Stravinsky's, `The Rite of Spring' | Florida State University | December 1995 | Webber, Miriam B.
| Analysis as Dialogue: Bakhtinian Theory and the Music of Dmitri Shostakovich | University of Kansas | April 2021 | Weiss, Michael
| Theoretical and Analytical Reflections on the Role of Robert O. Gjerdingen\'s Galant Schemata in Nineteenth-century Composition | University of Auckland | May 2018 | 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 York | July 1998 | Wells, Robert L.
| A Generalized Intervallic Approach to Metric Conflict | Eastman School of Music | November 2014 | 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 Atonality | Catholic University of Leuven | December 2003 | White, Christopher Wm.
| Some Statistical Properties of Tonality, 1650-1900 | Yale University | May 2014 | Whitelaw, Bryan A.
| Franz Liszt's Sonata Narratives: Large-Scale Forms at the Weimar Court | Queen's University Belfast | July 2021 | Wiehl, Lindsey L
| The Bassoon Music of Gordon Jacob: An Analysis of the Concerto for Bassoon and Strings and the Partita for Solo Bassooon | Ball State University | May 2020 | Wiens, Carl K.
| Igor Stravinsky and Agon | University of Michigan | January 1997 | Wiering, Frans
| The Language of the Modes. Studies in the History of Polyphonic Modality | University of Amsterdam | August 1995 | Wilde, Howard
| Towards a New Theory of Voice-Leading Structure in Sixteenth-Century Polyphony | University of London | July 1995 | Wile, Kip, D.
| A Study of Collection in Neocentric Music | University of Chicago | August 1994 | Wilkinson, Carlton J.
| Symphony in Five Movements: A Presentation and Analytical Discussion of a New Work in a Symphonic Form | Rutgers, The State University of New Jersey | January 1995 | Williams, Justin A
| Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies | University of Nottingham | September 2009 | Williams, Matt
| Beethoven’s Egmont, Count Egmont: An Imaginary Reading of Beethoven’s Overture | SUNY - University at Buffalo | February 2021 | Windsor, Luke W.
| A Perceptual Approach to the Description and Analysis of Acousmatic Music | City University, London | September 1995 | Wolfe, Daniel R
| Popular but Disparaged: Sonata Structures in Tchaikovsky’s Symphonies Four, Five, and Six | University of Houston | May 2020 | Wright, James K.
| Schoenberg, Wittgenstein, and the Vienna Circle: Epistemological Meta-Themes in Harmonic Theory, Aesthetics, and Logical Positivism | McGill University | February 2002 | Wu, Yi-Cheng Daniel
| Reflection and Representation: A Unitary Theory of Voice Leading and Musical Contour in 20th-Century Atonal and Serial Contrapuntal Music | University at Buffalo | June 2012 | Yorgason, Brent
| Expressive Asynchrony and Meter: A Study of Dispersal, Downbeat Space, and Metric Drift | Indiana University | August 2009 | 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 28 | Arizona State University | May 2004 | Yust, Jason D
| Formal Models of Prolongation | University of Washington | November 2006 | 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 | Zamzow, Beth Ann
| The Influence of the Liturgy on the Fifteenth-Century English Carols | The University of Iowa | May 2000 |
