Dissertations from 2024
Unveiling Iolanta: Blindness in Nineteenth-Century Opera, Nafset Chenib
Galina Ustvolskaya's Writing for Violin and Piano, 1952–1964, Patrick Doane
The Reciprocal Interaction of Musical Performance and Analysis, Gregory Hartmann
Singing Petrarch in the Cinquecento: Embodied Reading and the Italian Madrigal, Thomas A. Hedrick III
Reconciling Macro- and Micro-Levels in the First Movement of Brahms’s Piano Concerto in D Minor, op. 15: A Schenkerian Reading, Alexandra Joan
Timbres oubliés: The Forgotten Sounds of Loeffler's Octet, Graeme Steele Johnson
Reimagining Haydn’s Seven Last Words for String Quartet: Recasting, Retelling, and Reorchestrating for a Modern Audience, Jeremy J. Kienbaum
Musical Semiotics in Kate Soper’s Ipsa Dixit (2010–2016), Scott A. Miller
String Quartet, Scott A. Miller
“After being equals, is this the sequel?”: Vivian Fine’s Memoirs of Uliana Rooney as Artistic Commentary on Shifting Reactions to American Women’s Music, Tonia L. Passwater
A Multilevel Approach to the Analysis and Visualization of Timbral Brightness in Post-Tonal Music, Stephen Spencer
Metric Schemas and Projections in Three Colombian Folk Genres, Lina S. Tabak
Multilayered Harmonic Structure in Elliott Carter’s Clarinet Quintet, Xiangyu Zhou
Dissertations from 2023
Konohana, Jean-Patrick Besingrand
Ways of Silence and Other Absences in the Music of George Crumb, Jean-Patrick Besingrand
Play Makes Perfect: An Exploration of Game and Play Elements in Composition and Performance, Gabrielle Chou
Bow Articulations in the Late Galant (1775–1812): An Analysis of Bow Strokes in Selected Violin Sonatas of Mozart and Beethoven, Julia E. Danitz
Beat Construal, Tempo, Metric Dissonance, and Transgressing the Groove in Heavy Metal, Drew Fleming
Form in Hip-Hop Music: Sections, Songs, and History, Stephen M. Gomez
Identity and Complexity in Chaya Czernowin’s INA, Eliav Kohl
Mediated Locality: Assembling the Independent Music Scene in Brooklyn, New York, Frank Meegan
Sonorous Movement: Cellistic Corporealities in Works by Helmut Lachenmann, Simon Steen-Andersen, and Johan Svensson, John Popham
“All the Evil Music Has:” Musical Representations of the Vamp in Interwar American Popular Media, Martha Schulenburg
Voice Leading in Fugue, Yuval Shapira
Pleasure and Power in a Cover Culture: Audiences, Musicians, and Venues in İzmi̇r’s Popular Music Scene, Yılmaz Onur Sönmez
André Mocquereau's Theory of Rhythm, Charles Weaver
Germanic Latin Lyric Diction: Regional Variations in Germany, Switzerland, and Austria, James A. Worley
Dissertations from 2022
Strength and Vulnerability in Maurice Ravel’s Sonata for Violin and Cello and Osvaldo Golijov’s Mariel for Cello and Marimba: An Analysis through Performance and Composition, Andrea Casarrubios
Analog Matters: Labels, Cassettes, and Alternative Economies in Argentina’s Independent Music Scenes, Maria Agustina Checa
Music and Madness: Three Critical Case Studies, Beth A. Cooper
Disposizione Scenica per L’Opera Simon Boccanegra: An Insight into Verdi’s Sense of Drama and a Valuable Tool for Contemporary Performance, Giordana Rubria Fiori
Experiencing Sonic Change: Acoustic Properties as Form- and Meter-Bearing Elements in Popular Music Vocals, Kristi D. Hardman
"Cerulean Skies" by Maria Schneider: A Formal and Semiotic Analysis, Jonathan Heim
Assembling the African City: Music Streets and Associational Life in Dakar's Médina, Brendan Kibbee
A Bird’s Eye View: Large-Scale Tonal Structures in Robert Schumann’s Four Song Cycles (op. 42, 24, 39, and 48), Peter Kramer
Interpreting Jean Coulthard's Concerto for Piano and Orchestra (1963): A Pianist's Perspective, Jocelyn Lai
The Feminine Harp as Feminist Tool: Early Professional Footing for Women in Mid-Twentieth-Century America, Chelsea Lane
Unsuk Chin’s Hyper-Sheng: Sonic and Structural Development in Šu for Sheng and Orchestra, Hyun-Kyung Lee
“The Formation of a Personality”: Shostakovich’s Fifth Symphony and the Politics of Its Hermeneutic Reception, Ki Ki Leung
Voice, Arabness, and the Vocal Talent Competition Arab Idol, Insia Malik
Negative Dialectics in Elliott Carter: Toward an Adornian Aesthetics of Carter's Music, Gregory J. Menillo
Rima, Gregory J. Menillo
The Development of Slurs in Violin Bowing During the Italian Seicento: Printing and Rhetoric, Joan Plana Nadal
Non-Tonal Pitch Hierarchies and Dramatic Narratives in Oliver Knussen’s Variations, Op. 24, Joseph Prestamo
The Music of Sylvano Bussotti and Its Interpretation: Biopolitics, Intersubjectivity, and Modernist Canon Formation, Charles A. Rudig
Clarinet and Shadow, Jacob Sachs-Mishalanie
“The Theory is Not Yet Music”: An Analysis of Pierre Schaeffer’s Etude aux allures, Jacob Sachs-Mishalanie
7 preludes for "Music can sleep" for pierrot ensemble, Matthew Sandahl
An Analysis of György Kurtág’s Officium breve in memoriam Andræ Szervánszky for string quartet op. 28, Matthew S. Sandahl
Music Pedagogy in Venezuela’s Plains: Making Space in Alma Llanera, Elaine Sandoval
Dissertations from 2021
The Quartet’s Death: Embodiment, Performativity, and Physicality in Heinz Holliger’s 1973 String Quartet, Vicente Alexim
The Art of Listening: A Conversational Approach to Lecture Recitals, Javor Bracic
“Leisure with Decorum”: Gentlemen Making Music in the Georgian era, Lidia A. Chang
Salvatore Sciarrino's Sei Capricci for Solo Violin: Analysis and Performance Guide, Caroline Eva Chin
Between Occitania and Al-Andalus: Reconsidering the Emergence of Troubadour Melody Through Algorithmic Analysis, Veronica Maria da Rosa Guimaraes
Astor Piazzolla's Cinco piezas para guitarra: A Performer's Guide to the "Unwritten", Federico J. Díaz Páez
Gendering the Virtual Space: Sonic Femininities and Masculinities in Contemporary Top 40 Music, Michèle Duguay
The Singing Self: An Exploration of Vocality and Selfhood in Contemporary Vocal Practice, Emily C. Eagen
Listen Like This: Audiovisual Argument in Rockumentary, Lindsey Eckenroth
Indian Classical Music in the New York Metropolitan Area: The Development of a Transnational Ecosystem, Andre Fludd
For the Love of Inner Voices: Miriam Gideon, Orchestration, and Fortunato, Whitney E. George
Princess Maleine, Whitney E. George
The American Symphony Orchestra Today: Problems in Community, Diversity, and Representation, Hilary Slade Jansen
A Schema-Theoretic Approach to Hierarchy in Eighteenth-Century Tonality, Simon K. S. Prosser
Extracting Theory from Practice: A Computational Analysis of the Persian Radif, Sepideh Shafiei
Plainchant Accompaniment and Modal Harmony in Nineteenth-Century France, Ruka Shironishi
Performing Empowerment: Children's Rights and Musical Participation in Dakar, Senegal, Lynne Stillings
The Making of an Avant-gardist: A Study of Rafael Aponte-Ledée’s Early Life and Works (1957–1966), Noel Torres-Rivera
Emulating the "Country Fiddler": A Performance Analysis of Fiddle Parodies and Impressions in Charles Ives's Second Violin Sonata, Emily Vold Weiss
New Chinese Music in New York City: From Revival to Musical Transnationalism, Serena Yiai Wang
Teaching Choral Music of the African Diaspora in the United States: Toward a “Living Black History”, H. Roz Woll
Dissertations from 2020
Encounters: System for Creative Improvisation, Drake R. Andersen
The Limits of Indeterminacy: The Performance and Analysis of Selected Indeterminate Compositions by John Cage and Earle Brown, Drake R. Andersen
A Heavy Rain Has Fallen Upon My People: Sindhi Sufi Poetry Performance, Emotion, and Islamic Knowledge in Kachchh, Gujarat, Brian E. Bond
All Day in the Trey-Fold: Sound, Objecthood, and Place in the Mixtapes of DJ Screw, Matthew K. Carter
Corporeal Analysis: The Performing Body as Analytic Site, Laura Cocks
“From The Heart, May It Go To The Heart”: Liturgy and Embodiment in Beethoven’s Missa Solemnis, Brigid J. Coleridge
International Influence on the Development and Reception of Cello Playing in England, 1870–1930: Robert Hausmann, Auguste Van Biene, and Guilhermina Suggia, Hannah E. Collins
The Modes of Intervention in Alvin Lucier’s I Am Sitting in a Room, Daniel Fox
Coltrane Plays the Blues: Multi-Level Coherence and Stylistic Tendencies, Lukas Gabric
Mashing through the Conventions: Convergence of Popular and Classical Music in the Works of The Piano Guys, Alina Kiryayeva
Martial Caillebotte’s Mélodies and Scènes Lyriques: Analytical Essays and Performance Guide, Dominique McCormick
The Performance and Patronage of Baloch Culture through Music (and Related Arts) in the Eastern Arabian Peninsula, George Murer
Macroharmony in Ligeti's Etudes, Book 3, Nicolas Namoradze
Audio Quality as Content: Everyday Criticism of the Lo-fi Format, Elizabeth Newton
Two Cello Works of Pēteris Vasks: Structure, Symbolism, and Identity, Caroline Bean Stute
Object-Oriented Musicology: Some Implications of Graham Harman's Philosophy for Music Theory, History, and Criticism, Eric Taxier
Occitan Musicians, Immigration, and Postcolonial Regionalism in Southern France, Sarah E. Trouslard
The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire, Wayne Weng
Dissertations from 2019
Piano at the Conservatoire de Paris During the Interwar Period: A Study in Pedagogy and Performance Practice, Audrey Abela
Music and Jewish Practice in Contemporary Istanbul: Preserving Heritage, Bending Tradition, Joseph M. Alpar
Cyber-Narrative in Opera: Three Case Studies, Naomi Barrettara
Reimagining the Flute Masterclass: Case Studies Exploring Artistry, Authority, and Embodiment, Sarah Carrier
Baroque Pianism: Perspectives on Playing Baroque Keyboard Music on the Piano, with Emphasis on Bach’s Fugues in the Well-Tempered Clavier, Chih-tung Cheng
Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming, Javier Diaz
The Incorporated Hornist: Instruments, Embodiment, and the Performance of Music, M. Elizabeth Fleming
Afro-Cuba Transnational: Recordings and the Mediation of Afro-Cuban Traditional Music, Johnny Frias
Poems to Open Palms: Praise Performance and the State in the Sultanate of Oman, Bradford J. Garvey