As of 2014, all newly submitted Graduate Center dissertations and theses appear in Academic Works shortly after graduation. Some works are immediately available to read and download, and some become available after an embargo period set by the author. Dissertations and theses from before 2014 are generally accessible only to the CUNY community, but some authors have chosen to make theirs open access.

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Dissertations from 2024

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Galina Ustvolskaya's Writing for Violin and Piano, 1952–1964, Patrick Doane

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“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

Dissertations from 2023

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Konohana, Jean-Patrick Besingrand

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Ways of Silence and Other Absences in the Music of George Crumb, Jean-Patrick Besingrand

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Play Makes Perfect: An Exploration of Game and Play Elements in Composition and Performance, Gabrielle Chou

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Bow Articulations in the Late Galant (1775–1812): An Analysis of Bow Strokes in Selected Violin Sonatas of Mozart and Beethoven, Julia E. Danitz

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Beat Construal, Tempo, Metric Dissonance, and Transgressing the Groove in Heavy Metal, Drew Fleming

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Form in Hip-Hop Music: Sections, Songs, and History, Stephen M. Gomez

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Identity and Complexity in Chaya Czernowin’s INA, Eliav Kohl

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Mediated Locality: Assembling the Independent Music Scene in Brooklyn, New York, Frank Meegan

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Sonorous Movement: Cellistic Corporealities in Works by Helmut Lachenmann, Simon Steen-Andersen, and Johan Svensson, John Popham

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“All the Evil Music Has:” Musical Representations of the Vamp in Interwar American Popular Media, Martha Schulenburg

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Voice Leading in Fugue, Yuval Shapira

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Pleasure and Power in a Cover Culture: Audiences, Musicians, and Venues in İzmi̇r’s Popular Music Scene, Yılmaz Onur Sönmez

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André Mocquereau's Theory of Rhythm, Charles Weaver

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Germanic Latin Lyric Diction: Regional Variations in Germany, Switzerland, and Austria, James A. Worley

Dissertations from 2022

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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

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Analog Matters: Labels, Cassettes, and Alternative Economies in Argentina’s Independent Music Scenes, Maria Agustina Checa

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Music and Madness: Three Critical Case Studies, Beth A. Cooper

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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

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Experiencing Sonic Change: Acoustic Properties as Form- and Meter-Bearing Elements in Popular Music Vocals, Kristi D. Hardman

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"Cerulean Skies" by Maria Schneider: A Formal and Semiotic Analysis, Jonathan Heim

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Assembling the African City: Music Streets and Associational Life in Dakar's Médina, Brendan Kibbee

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A Bird’s Eye View: Large-Scale Tonal Structures in Robert Schumann’s Four Song Cycles (op. 42, 24, 39, and 48), Peter Kramer

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Interpreting Jean Coulthard's Concerto for Piano and Orchestra (1963): A Pianist's Perspective, Jocelyn Lai

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The Feminine Harp as Feminist Tool: Early Professional Footing for Women in Mid-Twentieth-Century America, Chelsea Lane

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Unsuk Chin’s Hyper-Sheng: Sonic and Structural Development in Šu for Sheng and Orchestra, Hyun-Kyung Lee

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“The Formation of a Personality”: Shostakovich’s Fifth Symphony and the Politics of Its Hermeneutic Reception, Ki Ki Leung

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Voice, Arabness, and the Vocal Talent Competition Arab Idol, Insia Malik

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Negative Dialectics in Elliott Carter: Toward an Adornian Aesthetics of Carter's Music, Gregory J. Menillo

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Rima, Gregory J. Menillo

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The Development of Slurs in Violin Bowing During the Italian Seicento: Printing and Rhetoric, Joan Plana Nadal

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Non-Tonal Pitch Hierarchies and Dramatic Narratives in Oliver Knussen’s Variations, Op. 24, Joseph Prestamo

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The Music of Sylvano Bussotti and Its Interpretation: Biopolitics, Intersubjectivity, and Modernist Canon Formation, Charles A. Rudig

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Clarinet and Shadow, Jacob Sachs-Mishalanie

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“The Theory is Not Yet Music”: An Analysis of Pierre Schaeffer’s Etude aux allures, Jacob Sachs-Mishalanie

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7 preludes for "Music can sleep" for pierrot ensemble, Matthew Sandahl

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An Analysis of György Kurtág’s Officium breve in memoriam Andræ Szervánszky for string quartet op. 28, Matthew S. Sandahl

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Music Pedagogy in Venezuela’s Plains: Making Space in Alma Llanera, Elaine Sandoval

Dissertations from 2021

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The Quartet’s Death: Embodiment, Performativity, and Physicality in Heinz Holliger’s 1973 String Quartet, Vicente Alexim

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The Art of Listening: A Conversational Approach to Lecture Recitals, Javor Bracic

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“Leisure with Decorum”: Gentlemen Making Music in the Georgian era, Lidia A. Chang

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Salvatore Sciarrino's Sei Capricci for Solo Violin: Analysis and Performance Guide, Caroline Eva Chin

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Between Occitania and Al-Andalus: Reconsidering the Emergence of Troubadour Melody Through Algorithmic Analysis, Veronica Maria da Rosa Guimaraes

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Astor Piazzolla's Cinco piezas para guitarra: A Performer's Guide to the "Unwritten", Federico J. Díaz Páez

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Gendering the Virtual Space: Sonic Femininities and Masculinities in Contemporary Top 40 Music, Michèle Duguay

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The Singing Self: An Exploration of Vocality and Selfhood in Contemporary Vocal Practice, Emily C. Eagen

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Listen Like This: Audiovisual Argument in Rockumentary, Lindsey Eckenroth

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Indian Classical Music in the New York Metropolitan Area: The Development of a Transnational Ecosystem, Andre Fludd

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For the Love of Inner Voices: Miriam Gideon, Orchestration, and Fortunato, Whitney E. George

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Princess Maleine, Whitney E. George

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The American Symphony Orchestra Today: Problems in Community, Diversity, and Representation, Hilary Slade Jansen

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A Schema-Theoretic Approach to Hierarchy in Eighteenth-Century Tonality, Simon K. S. Prosser

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Extracting Theory from Practice: A Computational Analysis of the Persian Radif, Sepideh Shafiei

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Plainchant Accompaniment and Modal Harmony in Nineteenth-Century France, Ruka Shironishi

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Performing Empowerment: Children's Rights and Musical Participation in Dakar, Senegal, Lynne Stillings

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The Making of an Avant-gardist: A Study of Rafael Aponte-Ledée’s Early Life and Works (1957–1966), Noel Torres-Rivera

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Emulating the "Country Fiddler": A Performance Analysis of Fiddle Parodies and Impressions in Charles Ives's Second Violin Sonata, Emily Vold Weiss

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New Chinese Music in New York City: From Revival to Musical Transnationalism, Serena Yiai Wang

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Teaching Choral Music of the African Diaspora in the United States: Toward a “Living Black History”, H. Roz Woll

Dissertations from 2020

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Encounters: System for Creative Improvisation, Drake R. Andersen

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The Limits of Indeterminacy: The Performance and Analysis of Selected Indeterminate Compositions by John Cage and Earle Brown, Drake R. Andersen

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A Heavy Rain Has Fallen Upon My People: Sindhi Sufi Poetry Performance, Emotion, and Islamic Knowledge in Kachchh, Gujarat, Brian E. Bond

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All Day in the Trey-Fold: Sound, Objecthood, and Place in the Mixtapes of DJ Screw, Matthew K. Carter

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Corporeal Analysis: The Performing Body as Analytic Site, Laura Cocks

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“From The Heart, May It Go To The Heart”: Liturgy and Embodiment in Beethoven’s Missa Solemnis, Brigid J. Coleridge

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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

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The Modes of Intervention in Alvin Lucier’s I Am Sitting in a Room, Daniel Fox

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Coltrane Plays the Blues: Multi-Level Coherence and Stylistic Tendencies, Lukas Gabric

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Chinese Aesthetics and Performance Practice in Three Works for Piano by Chen Yi: Tunes from My Home, Northern Scenes, and Four Spirits, Cong Ji

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Mashing through the Conventions: Convergence of Popular and Classical Music in the Works of The Piano Guys, Alina Kiryayeva

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Martial Caillebotte’s Mélodies and Scènes Lyriques: Analytical Essays and Performance Guide, Dominique McCormick

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The Performance and Patronage of Baloch Culture through Music (and Related Arts) in the Eastern Arabian Peninsula, George Murer

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Macroharmony in Ligeti's Etudes, Book 3, Nicolas Namoradze

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Audio Quality as Content: Everyday Criticism of the Lo-fi Format, Elizabeth Newton

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Two Cello Works of Pēteris Vasks: Structure, Symbolism, and Identity, Caroline Bean Stute

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Object-Oriented Musicology: Some Implications of Graham Harman's Philosophy for Music Theory, History, and Criticism, Eric Taxier

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Occitan Musicians, Immigration, and Postcolonial Regionalism in Southern France, Sarah E. Trouslard

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The Mutability of the Score: An Examination of the Value of Score Alteration in Virtuosic Piano Repertoire, Wayne Weng

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Korngold’s Compositional Style: A Comparison of his Violin Concerto and the film scores of Another Dawn, Anthony Adverse, and The Prince and the Pauper, Ji in Yang

Dissertations from 2019

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Piano at the Conservatoire de Paris During the Interwar Period: A Study in Pedagogy and Performance Practice, Audrey Abela

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Music and Jewish Practice in Contemporary Istanbul: Preserving Heritage, Bending Tradition, Joseph M. Alpar

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Cyber-Narrative in Opera: Three Case Studies, Naomi Barrettara

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Reimagining the Flute Masterclass: Case Studies Exploring Artistry, Authority, and Embodiment, Sarah Carrier

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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

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Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming, Javier Diaz

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The Incorporated Hornist: Instruments, Embodiment, and the Performance of Music, M. Elizabeth Fleming

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Afro-Cuba Transnational: Recordings and the Mediation of Afro-Cuban Traditional Music, Johnny Frias

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Poems to Open Palms: Praise Performance and the State in the Sultanate of Oman, Bradford J. Garvey

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The Musical World of Joseph Rumshinsky’s Mamele, D. A. Geller

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Women's Contributions to Viola Repertoire and Pedagogy in the Twentieth Century: Rebecca Clarke, Lillian Fuchs, and Rosemary Glyde, Eva R. Gerard

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Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn, Mary P. Hubbell

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Support vs. Steady Airflow: The Effect of Two Different Instructions on Subglottal Pressure, Sound Pressure Level, and Airflow Rate during Singing and Speaking, Sunyoung Kim

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Sighs of the German People: An Emotional History of Musical Sigh-Compositions during the Thirty Years War (1618–1648), Thomas Marks

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Chamber Music, Cyclic Form, and the Ideal of the Absolute in French Music and Literature, 1890–1918, Naomi Perley

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Johann Nauwach's Teütscher Villanellen: A Critical Performance Edition with Performance Practice Commentary, Christopher Pfund

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Music Making in Iran: Developments Between the Sixteenth and Late Nineteenth Centuries, Amir Hosein Pourjavady

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Exploring Political Action and Socialization through Group Improvisation within the Music of Frederic Rzewski and Cornelius Cardew, Marcel Rominger

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Performing Rhythmic Dissonance in Ligeti’s Études, Book 1: A Perception-Driven Approach and Re-notation, Imri Talgam

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Leonora Duarte (1610–1678): Converso Composer in Antwerp, Elizabeth A. Weinfield