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
The Musical World of Joseph Rumshinsky’s Mamele, D. A. Geller
Women's Contributions to Viola Repertoire and Pedagogy in the Twentieth Century: Rebecca Clarke, Lillian Fuchs, and Rosemary Glyde, Eva R. Gerard
Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn, Mary P. Hubbell
Sighs of the German People: An Emotional History of Musical Sigh-Compositions during the Thirty Years War (1618–1648), Thomas Marks
Chamber Music, Cyclic Form, and the Ideal of the Absolute in French Music and Literature, 1890–1918, Naomi Perley
Johann Nauwach's Teütscher Villanellen: A Critical Performance Edition with Performance Practice Commentary, Christopher Pfund
Music Making in Iran: Developments Between the Sixteenth and Late Nineteenth Centuries, Amir Hosein Pourjavady
Exploring Political Action and Socialization through Group Improvisation within the Music of Frederic Rzewski and Cornelius Cardew, Marcel Rominger
Performing Rhythmic Dissonance in Ligeti’s Études, Book 1: A Perception-Driven Approach and Re-notation, Imri Talgam
Leonora Duarte (1610–1678): Converso Composer in Antwerp, Elizabeth A. Weinfield
Analyzing Harmonic Polarities: A Tonal Narrative Approach, Stephen J. Whale
Tonicizations, Periods, and Period-Like Structures in the Music of Dvořák, Xieyi Zhang
Ruin Sound: Audio Afterlives, Reenactment, and Remembrance in the 21st Century, Maria Edurne Zuazu
Dissertations from 2018
The Exegetical Function of the Conductus in MS Egerton 2615, Dongmyung Ahn
Splendid Disarray: The Music of Andrew McKenna Lee, Nina Berman
Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice, Tanya Gabrielian
Musicking, Discourse, and Identity in Participatory Media Fandom, Aya Esther Hayashi
Analyzing Genre in Post-Millennial Popular Music, Thomas Johnson
Climax Structure in Late Romantic Opera, Ji Yeon Lee
The Musicality of Salsa Dancers: An Ethnographic Study, Janice Mahinka
Sunken II Chords and Inwardness: A Correspondence Complex in Robert Schumann’s Liederjahr Songs, Alexander J.J. Martin
Strauss and the City: The Reception of Richard Strauss’s Salome, Elektra, and Der Rosenkavalier within New York City, 1907–1934, Christopher G. Ogburn
Leonard Bernstein's Piano Music: A Comparative Study of Selected Works, Leann Osterkamp
A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach, Asis Reyes
Unusual Accidental Signs, Microtonal Inflections, and Marchetto of Padua, Alan D. Richtmyer
A Pedagogical Study of the "Four Lauds for Solo Violin" by Elliott Carter, Heesun Shin
An Exploration and Analysis of the Unaccompanied Viola Sonatas of Günter Raphael, Gregory K. Williams
The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City, Emily J. Williamson
Dissertations from 2017
The Analysis of Musical Dramaturgy in Mozart's Die Entführung aus dem Serail, Danielle J. Bastone
Constructions of New England Identity and Place in American Music, 1885-1935, Jacob A. Cohen
Music in Haredi Jewish Life: Liquid Modernity and the Negotiation of Boundaries in Greater New York, Gordon A. Dale
William Bolcom’s "Twelve New Etudes" (1988): Theoretical and Interpretative Analysis, Ran Dank
Spectacular Politics and Everyday Performance: Tracing Music from Ceauşescu’s Romania to Multicultural America, Benjamin Dumbauld
Reimagining the Collective: Black Popular Music and Recording Studio Innovation, 1970-1990, Will Fulton
The Varieties of Tone Presence: On the Meanings of Musical Tone in Twentieth-Century Music, Aaron Harcus
Solo Performance: An Extension of Vocal Pedagogy, Monica J. Harte
Interval Cycles in György Kurtág’s Post-Dodecaphonic Late Music, Ramin Heydarbeygi
String Quartet No. 2, Ramin Heydarbeygi
The Performance Conversation: A Pragmatic, Curricular Approach to Speaking from the Stage, Barrett J. Hipes
Heinrich Schenker’s Early Approach to Form, 1895–1921: Implications for His Late Work and Its Reception, Jason A. Hooper
"Toccatas and Arias": Analysis and Historical Context of Vivian Fine’s Last Work for Solo Piano, Manon Hutton-DeWys
From Protest Song to Social Song: Music and Politics in Colombia, 1966-2016, Joshua Katz-Rosene
Worlds of If: Analyses of the Composed and Improvised Works of Robert Dick, Melissa Keeling
Mahlerian Tonality: Challenges to Classical Foreground Structures in the Music of Gustav Mahler, Ryan Kosseff-Jones
A New Approach to the Analysis of Timbre, Megan L. Lavengood
Gustave Vogt's Musical Album of Autographs: A Scholarly Edition, Kristin Leitterman
A Study of Nikolai Medtner's Compositional Technique: Form and Narrative in Tales, Oliver H. Markson