________________________________________________________________________
List of Doctorates and Dissertation Titles
________________________________________________________________________
*Titles of compositions in addition to essays were first identified in 1978
Joseph Kerman, *50
The Elizabethan Madrigal: A Comparative Study
Kenneth Levy, *55
The Chansons of Claude Le Jeune
Philipp Naegele, *55
August Wilhelm Ambros, His Historical and Critical Thought
Edwin C. White, *57
Giovanni Baptista Viotti and His Violin Concertos
Harold S. Powers, *59
The Background of the South Indian Raga-System
Charles Ham, *60
Chronology of the Works of Guillaume Dufay
Lewis Lockwood, *60
The Counter-Reformation and the Sacred Music of Vincenzo Ruffo
Malcolm S. Cole, *64
The Development of the Instrumental Rondo Finale from 1750-1800
Paul Evans, *64
The Early Trope Repertory of Saint-Martial de Limoges
Roger Kamien, *64
The Opening Sonata-Allegro Movements in a Randomly Selected Sample of Solo Keyboard Sonatas
Published in the Years 1742-1774
Godfrey Winham, *64
Composition with Arrays
Philip Batstone, *65
Multiple Order Functions in Twelve-tone Music
Carlton Russell, *66
The Southern French Tonary in the Tenth and Eleventh Centuries
Henry Weinberg, *66
A Method of Transferring the Pitch Organization of a Twelve Tone Set Through All Layers of a
Composition
A Method of Transforming Rhythmic Content Through Operations Analogous to Those of the Pitch
Domain
Mark DeVoto, *67
Alban Berg's Picture Postcard Songs
Robert Freeman, *67
Opera Without Drama
Michael Kassler, *67
A Trinity of Essays
Don Randel, *67
The Responsorial Psalm Tones for the Mozarabic Office
Leo Treitler, *67
The Aquitanian Repertories of Sacred Monody in the Eleventh and Twelfth Centuries
David M. Epstein, *68
Schoenberg's Grundgestalt and Total Serialism: Their Relevance to Homophonic Analysis
Arthur Komar, *68
Theory of Suspensions
Robert L. Marshall, *68
The Compositional Process of J. S. Bach, A Study of the Autograph Scores of the Vocal Works
Samuel F. Pogue, *68
Jacques Moderne: Lyons Music Printer of the Sixteenth Century
William P. Stalnaker, Jr., *68
The Beginnings of Opera in Naples
Robert Bailey, *68
The Genesis of Tristan Und Isolde and a Study of Wagner's Sketches and Drafts for the First Act
Paul F. Cutter, *69
The Old-Roman Responsories of Mode 2
James F. Hopkins. *69
Ravel's Orchestral Transcription Technique
Dennis A. Libby, *69
Gaspare Spontini and his French and German Operas
Robert P. Morgan, *69
The Delayed Structural Downbeat and Its Effect On the Tonal and Rhythmic Structure of Sonata
Form Recapitulation
Benjamin Boretz, *70
Meta-Variations: Studies in the Foundations of Musical Thought
Philip Gossett, *70
The Operas of Rossini
Joel Lester, *70
Atonal Prolongations
Anthony Newcomb, *70
The Musica Secreta of Ferrara in the 1580's
Alden Ashforth, *71
Schoenberg's Cadential Devices
Hubert S. Howe, Jr., *72
Multi-Dimensional Arrays
John B. Melby, Jr., *72
A Method of Controlling Local and Large-Scale Rhythmic Relationships in Twelve-Tone and Other
Serial Compositions
Harold S. Oliver, *72
A Non-Tonal Generative Compositional System Employing Registral Lines
Eric H. Regener, *72
Pitch Notation and Equal Temperament
String Quartet
Paul Lansky, *73
Affine Music
George Nugent, *73
The Motets of Jacquet of Mantua
Philip H. Patrick, *73
A Computer-Study of a Suspension-Formation in the Masses of Josquin Desprez
Diane Thome, *73
Toward Structural Characterization of the Timbral Domain
Bruno Amato, *74
Mutation: An Examination of Its Structural Uses in Selected Works of Haydn, Mozart, and Beethoven
Linda Burman Hall, *74
Southern American Folk Fiddling: Context and Style
D. Kern Holoman, *74
Autograph Musical Documents of Hector Berlioz, ca. 1818-1840
Richard A. Kramer, *74
The Sketches for Beethoven's Violin Sonatas, Opus 30, History, Transcription, Analysis
Jeffrey J. Kresky, *74
A Study in Analysis
John Rahn, *74
Lines (of and About Music)
James C. Webster, *74
The Bass Part in Haydn's Early String Quartets and in Austrian Chamber Music, 1750-1780
Jane Coppock, *75
Ideas for a Schoenberg Piece
Norman Dinerstein, *75
Polychordality in Salome and Elektra
Rufus Hallmark, *75
The Genesis of Dichterliebe: A Source Study
Ernest D. May, *75
Breitkopf's Role in the Transmission of J. S. Bach's Organ Chorales
Robert Moreen, *75
Integration of Text Forms and Musical Forms in Verdi's Early Operas
Richard Sherr, *75
The Papal Chapel ca. 1492-1513 and Its Polyphonic Sources
William E. Benjamin, *76
On Modular Equivalence as a Musical Concept
Joel W. Gressel, *76
Rhythmic Applications of Geometric Series
András Szentkiralyi, *76
Bartok's Second Sonata for Violin and Piano
Mark Zuckerman, *76
Derivation As An Articulation of Set Structure: A Study of the First Ninety-Two Measures of Milton
Babbitt's String Quartet No. 2
Daniel Catan, *77
A Cure for Form and Other Stories: A Study of Three Arias and Two Duets in Mozart's Opera Don
Giovanni
William M. Drabkin, *77
The Sketches for Beethoven's Piano Sonata in C Minor, Opus III
Joan A. Smith, *77
Sprechstimmen-Geschichte an Oral History of the Genesis of the Twelve-Tone Idea
George S. Bozarth, Jr., *78
The Lieder of Johannes Brahms 1868-1871
Richard L. Cann, *78
Analysis/Synthesis for the Production of Electronic Vocal Music
Composition: Alillia
Ethan T. Haimo, *78
Polymetric Music
Composition: String Quartet No. 2
Jane S. O'Leary, *78
Some Aspects of Structure in Webern's Quartet Op. 22
Composition: Trio for Flute, Clarinet and Piano
Gregory M. Proctor, *78
Technical Bases of Nineteenth-Century Chromatic Tonality: A Study in Chromaticism
John Rea, *78
Franz Liszt's "New Path of Composition": The Sonata In B Minor as Paradigm
Composition: The Prisoner's Play
Elaine R. Sisman, *78
Haydn's Variations
Judith S. Allen, *79
Soundings Schubert: C Major String Quintet
Composition: Constellations for String Quartet
Jonathan E. Glixon, *79
Music At the Venetian Scuole Grandi, 1440-1540
Severine Neff, *79
Ways to Imagine Two Successive Pieces of Schoenberg: The Second String Quartet, Opus 10,
Movement One The Song, Ich Darf Nicht Dankend, Opus 14, No. 1
Jessie A. Owens, *79
An Illuminated Manuscript of Motets by Cipriano de Rore (Munchen, Bayerische Staatsbibliothek,
Mus. Ms. B)
Francis J. Brickle, Jr., *80
The Various Rhythms of Three Passages
Composition: Wit's End; Nux Melaina; Bete Noire
Anthony M. Cummings, *80
A Florentine Sacred Repertory From the Medici Restoration
Stephen Dembski, *80
Close Relations
Composition: Stacked Deck
Joseph Dubiel, *80
The First Movement of Mozart's C-Major Quintet
Composition: Sonata for Violin Solo with the Presumption of Consequent Apples
Peter G. Jeffery, *80
The Autograph Manuscripts of Francesco Cavalli
Marvin Johnson, *80
Time Points Sets and Meter
Composition: Chaconne for Four Instruments
Henry J. Martin, *80
Jazz Harmony
Composition: String Quartet No. 2
Katherine Rohrer, *80
"The Energy of English Words." A Linguistic Approach to Henry Purcell's Methods of Setting Texts
Daniel V. Starr, *80
Derivation and Polyphony in Twelve-Tone Music
Composition: Chaconne
David Hicks, *81
Chronicles, Opus 118, No. 6 of Brahms
Composition: Sax Objects
Paul Johnson, *81
The First Movement of Stravinsky's Symphony in C: Its Syntactical Bases and Their Implications
Composition: Solo For Clarinet, Three Studies
Michael Long, *81
Musical Tastes in Fourteenth-Century Italy: Notational Styles' Scholarly Traditions and Historical
Circumstances
Andrew W. Mead, *81
Set Structure and Extended Form
Composition: Chamber Concerto for Flute, Clarinet, Violin, 'Cello and Piano
Hilary Presslaff Tann, *81
Pitch Translucency
Lesley Wright, *81
Bizet Before Carmen
Richard Agee, *82
The Privilege and Venetian Music Printing in the Sixteenth Century
John Peel, *82
From Parsifal to the Pythia: Reverie on the Prelude, Herzeleide, Introduction to the Pythia
Composition: Paul Valery's La Pythie
Mario Pelusi, *82
Contemplating a Brahms Intermezzo: Toward a Comprehensive Analytical Method for the
Explication and Interpretation of "Prescriptive Musical Structures"
Composition: Three Rosetti Songs for Soprano and Chamber Orchestra
Christopher Reynolds, *82
The Music Chapel at San Pietro in Vaticano in the Later Fifteenth Century
Edgar Williams, *82
In and About Some Music Imagined or Compendia Pseudo-Doxia Mea Epidemica
Composition: Amoretti
Lawrence M. Earp, *83
Scribal Practice, Manuscript Production and the Transmission of Music in Late Medieval France:
The Manuscripts of Guillaume de Machaut
Linda F. Ferguson, *83
Col Basso and GeneralBass in Mozart's Keyboard Concertos. Notation, Performance Theory, and
Practice
Donald Greenfield, *83
Sketch Studies for Three Movements of Beethoven's String Quartets, Opus 18, No. 1 and No. 2
Arthur Margolin, *83
A Mozartian Dialectic
Nicolas Schidlovsky, *83
The Notated Lenten Prosomoia in the Byzantine and Slavic Traditions
Michael Tusa, *83
Carl Maria von Weber's Euryanthe: A Study of Its Historical Context, Genesis, and Reception
R. Daniel Werts, *83
A Theory of Scale References
Composition: Cantata on a Medieval Latin Text
Carolyn Abbate, *84
The "Parisian" Tannhauser
Stephen L. Clark, *84
The Occasional Choral Works of C. P. E. Bach
Stefania M. de Kenessey, *84
The Quartet, the Finale and the Fugue: A Study of Beethoven's Opus 130/133
Composition: Sonata No. 1 for Violin and Piano
Steven Huebner, *84
The Second Empire Operas of Charles Gounod
Theodore Levin, *84
The Music and Tradition of the Bukharan Shashmaqam in Soviet Uzbekistan
Warren R. Pinckney, *84
Some Properties of Nonfunctional Chord Progressions in the Modern Jazz Opera Scenes from the
Duplex
Composition: Scenes From the Duplex
Daniel C. Warner, *84
The Diatonic Collection in Two Non-Tonal Worlds
Composition: You Can Never Capture It Again
Isobel Woods, *84
The Carvor Choirbook
David Hush, *85
Modes of Continuity in Arnold Schoenberg's Accompaniment to Cinematographic Scene, Opus 34
Composition: Psalms
David L. Kowalski, *85
The Array as a Compositional Unit. A Study of Derivational Counterpoint as a Means of Creating
Hierarchical Structures in Twelve-Tone Music
Composition: Clarinet Quartet
Bruce Samet, *85
Hearing Aggregates
Ruth Davis, *86
Modern Trends in the Ma'Luf of Tunisia 1934-1984
Paula Higgins, *87
Antoine Busnois and Musical Culture in Late 15th-Century France and Burgundy
Claudia Jensen, *87
Nikolai Diletskii's Grammatika (Grammar) and the Musical Culture of Seventeenth-Century Muscovy
Dennis Slavin, *87
Binchois' Songs, the Binchois Fragment and the Two Layers of Escorial A
Linda Tyler-Schmidt, *88
Mozart and Operatic Conventions in Austria and Southern Germany 1760-1800
Marc Capalbo, *89
Proliferation
Composition: Segni
Charles Dill, *89
The Reception of Rameau's Castor Et Pollux in 1737 and 1754
Keith Falconer, *89
Some Early Tropes to the Gloria
Bradford Garton, *89
Working with Elthar: An Intelligent Music Interface
Composition: There’s No Place Like Home
Cynthia Gessele, *89
The Institutionalization of Music Theory in France: 1764-1802
Kenneth Hull, *89
Brahms the Allusive: Extra-Compositional Reference in the Instrumental Music of Johannes Brahms
Jody Rockmaker, *89
Articulating Form In Alban Berg's String Quartet Opus 3
Composition: The Secreted Peace
Lynne Rogers, *89
Stravinsky's Alternative Approach to Counterpoint
Rebecca Edwards, *90
Claudio Merulo: Servant of the State and Musical Entrepreneur in Later Sixteenth-Century Venice
Adelyn Peck Leverett, *90
A Paleographical and Repertorial Study of the Manuscript Trento, Castello Del Buonconsiglio, 91
(1378)
Fred E. Maus, *90
Humanism and Musical Experience
Jeffrey Perry, *90
A Study of Anton Webern's Six Bagatelles for String Quartet, Opus 9
Composition: Happenstance
Richard Argosh, *91
Nine Short Pieces: Brevity in the Music of Beethoven, Webern and Kurtag
David Crook, *91
Orlando Di Lasso's Magnificats Ad Imitationem
Michael Dellaira, *91
For the Record: Recorded Objects and the New Listener
Composition: The Fire and the Mountains
Eliot Handelman, *91
Music As Secondary Consciousness: An Implementation
Composition: Huge-Spag-Concert No. 2
Douglas Henderson, *91
A. Mica Bunker: Improvisations, Where and How
Stefano LaVia, *91
Cipriano De Rore As Reader and As Read: A Literary-Musical Study of Madrigals from Rore's Later
Collections (1557-1566)
Eric Charry, *92
Musical Thought, History, and Practice Among the Mande of West Africa
Kristin Knittel, *92
From Chaos to History: The Reception of Beethoven's Late Quartets
Mathew Rosenblum, *92
Vocal Music: Phonetics, Phonology and Musical Structure
Composition: Circadian Rhythms
Alicyn Warren, *92
Levels of Reality in Dramatic Music: Longing for the Light
Rosemary Thoonan Dubowchik, *93
A Chant for Feasts of the Holy Cross in Jerusalem, Byzantium and Medieval Europe
Katharine Norman, *93
Real World Music
Composition: people underground
In her own time
London E17
Alistair Riddell, *93
The Interface
Composition: Z Says
The Third Hand
Leslie Blasius, *94
Schenker's Argumen
Peter T. Robles, *94
The Power of Orchestration: A Study of Painterly and Dramatic Dimensions in the Music of Jacob
Druckman and William Bolcom
Composition: L'Auberge du Midi
Alison Terbell Nikitopoulos, *94
Arrigo Boito's Mefistofele: Poetry, Music and Revisions
Elizabeth Wiemann, *94
Meter and Hypermeter in Two Works by Ravel
Composition: Simple Songs
Theophanis Dymiotis, *95
Antithesization and Continuity in Sibelius' Symphonies
Composition: String Quartet No. 2
Stanley B. Link, Jr., *95
Essay Towards Musical Negation
Composition: Rh-, ... Have Ever Lived...Anyone..., Endscape
Mark Nelson, *95
Quieting the Mind, Manifesting Mind: The Zen Buddhist Roots of John Cage's Early ChanceDetermined and Indeterminate Compositions
Composition: Motion Alarm I Ching
Daniel A. Plante, *95
Debussy's Prelude A L'Apres-Midi D'Un Faune
Composition: Duo for Viola and Piano
Alice V. Clark, *96
Concordare Cum Materia: The Tenor in the Fourteenth-Century Motet
Heather Hadlock, *96
Romantic Visions of Women and Music: Jacques Offenbach's Les Contes d'Hoffmann
David Rakowski, *96
Second Hearings
Composition: Cerberus
Bryce Rytting, *96
Structure Versus Organicism in Shenkerian Analysis
Carlos Sanchez-Gutierrez, *96
The Cooked and the Raw: Syncretism in the Music of Silvestre Revueltas
Composition: Son Del Corazon
William Anthony Sheppard, *96
Modernist Music Theater: Exotic Influences and Ritualized Performance
Nagi Marc Zaki, *96
Expressive Artifacts in Electro-Acoustic and Computer Music
Composition: Strange Lines and Distances
Gregory Barnett, *97
Musical Issues of the Late-Seicento: Style, Social Function, and Theory in Emilian Instrumental
Music
Suzannah Clark, *97
From Nature to Logic in Schubert's Instrumental Music
Manuel Pedro Ferreira, *97
Music at Cluny: The Tradition of Gregorian Chant for the Proper of the Mass. Melodic Variants and
Microtonal Nuances
Simon Morrison, *97
Russian Opera and Symbolist Poetics
Jadwiga Radkiewicz, *97
76 Photographs: A Music
Composition: Opus 1989: New Jersey
Su-Lian Tan, *97
Hector Berlioz Symphonie Fantastique, Op. 14: An Exploration of Musical Timber
Composition: Autumn Lute-Song for Flute and String Orchestra
Curtis Bahn, *98
Composition, Improvisation and Meta-Composition
Composition: Five works on CD
Melanie Lowe, *98
Expressive Paradigms in the Symphonies of Joseph Haydn
David W. Sanford, *98
"Prelude (Part 1)" From Agharta: Modernism and Primitivism in the Fusion Works of Miles Davis
Composition: Russo/Argo/Russo
Juliet Kiri Palmer, *99
Playing Music
Composition: W is for; bone-flower; blood shower
John David Puterbaugh, *99
Between Location and Place: A View of Timbre Through Models and Sonopoietic Space
Composition: The Betweeness of Place
Donald A. Steven, *99
Ancient and Traditional Roots of Twentieth-Century Heterophony
Composition: In the Land of Pure Delight
Gabriela Cruz, *99
Giacomo Meyerbeer's L'Africaine and the End of Grand Opera
Dana Gooley, *99
Liszt and His Audiences, 1834-1847: Virtuosity, Criticism, and Society in the Virtuosenzeit
Daniel Trueman, *99
Reinventing the Violin
Composition: Machine Language/Hot Dang'r
Anna Rubin, *00
Deep Into the Forest: The Narrative, Sonic and Reception Design of Foret Profonde by Francis
Dhomont
Composition: Family Stories: Sophe, Sally; Sea Changes I; Dreaming Fire Tasting Rain
Robert Bowen, *01
Function and Meaning In Reprise
Composition: 46-41-KC
Inouk Demers, *01
Investigating, Dissimulating, Reporting, Fantasizing: A Close-up and Wide-angle View of
Transcription in Michael Finnissy's Obrect Mottet I.
Composition: Chaqque Note; Plans/vol Plané for Piano et Percussion
Marsha Dubrow, *01
Schubert’s Early Piano Sonatas of 1815-1819: Problems of Corpus, Chronology,
and Composer’s Intentions
Susan Gail Lewis, *01
Collecting Italia Abroad: Anthologies of Italian Madrigals in The Print World of Northern Europe
Virgil Moorefield, *01
From the Illusion of Reality to the Reality of Illusion: The Changing Role of the Producer in the Pop
Recording Studio.
Composition: Final Approach
Natalka Pavlovsky, *01
Evidence of the Historic Strata in Slavic Stolp Notation
Stephen V. Peles, *01
Reconstructions: Order and Association in Schoenberg's Twelve-Tone Music
Composition: Disiecta Membra for Violin and Piano
Giorgio Biancorosso, *02
Where Does the Music Come From? Studies In the Aesthetics of Film Music
David Claman, *02
Western Composers and India's Music: Concepts, History, and Recent Music
Composition: Septet: Hip Replacement
Joanna Demers, *02
Sampling as Lineage in Hip-Hop
Mary Kalil, *02
Reports from Off-Stage: Representations of Slavic History In Russian and Czech Opera
Jessica Sternfeld, *02
The Megamusical: Revolution on Broadway in the 1970s and 80s
Van Stiefel, *02
Maison Vague: The Space Metaphor In Contemporary Music
Composition: Fortune: For Electric Guitar Quartet
Stefanie Tcharos, *02
Beyond the Boundaries of Opera: Conceptions of Musical Drama in Rome 1676-1710
Laura Tunbridge, *02
Euphorion Falls: Schumann, Manfred and Faust
Mary Wright, *02
Fly Flip Music Clip: The Music of Competitive Cheerleading
Composition: Project Arbol: Deer-B-Gone
Nicholas Brooke, *03
Playing the Phonograph: Images of Technology, Performance, and Composition in the Twentieth
Century
Compositions: Tone Test, 127 Studies on a Single Orchestrion, and American Regina
Constance Cooper, *03
Janáček's Techniques of Unification in Mature Operas
Composition: Easter Eve
Tania Cronin, *03
The Arc of the Arietta: Absences and Silences in the Late String Quartets and Piano Sonatas of
Beethoven
Ramsey El-Assal, *03
Hellenism, Naturalism, and the Construction of Arab Music History
Carson Kievman, *03
Ockeghem and Ligeti: The Music of Transcendence
Composition: Sine Nomine
David Kasunic, *04
Chopin and the Singing Voice, From the Romantic to the Real
Peter Velikonja, *04
Autonomous Music Via Artificial Evolution
Composition: Suite for Proteins/Passacaglia Polymer C3
Evan Bennett, *04
The Treasons of Image: Bach, Irony, and Shostakovich’s Preludes and Fugues, Op. 87
Composition: Starry Message for flute, cello and piano
Britta Gilmore, *04
Bartók as Dramatist
Alan Shockley, *04
Music in the Words: Fugue, Sonata-Allegro, Thematic Transformation, and Counterpoint in the
Twentieth-Century Novel
Compositions: Peje Iesus Je and Morgenstreich
Daniel Biro, *04
Reading the Song: On the Development of Musical Syntax, Notation and Compositional Autonomy:
A Comparative Study of Hungarian Siratók, Hebrew Bible Cantillation and Ninth Century
Plainchant from St. Gall
Compositions: BeMitzraim and Mishpatim
Tae Hong Park, *04
Towards Automatic Musical Instrument Timbre Recognition
Compositions: A d’Ess Are, Aboji, 4813N-1620O, and pH-SQ
Thomas Csaba Hajdu, *04
Music and Context
Composition: Music from Mean Creek
John Gibson, *04
Listening to Repetitive Music: Reich, Feldman, Andriessen, Autechre
Composition: Jangle( for two pianos)
William Brooke Joyce, *04
Listening Inside the Memory Place, Volume I
Composition: Unbekannt
Scott Paulin, *04
On the Chaplinesque in Music: Studies in the Cultural Reception of Charlie Chaplin
Wayne Heisler, *04
Freedom from the earth's gravity: The Ballet Collaborations of Richard Strauss
Giovanni Zanovello, *04
Heinrich Isaac, the Mass Misericordias Domini, and Music in Late-Fifteenth-Century Florence.
Michele Cabrini, *05
Expressive Polarity: The Aesthetics of Tempête and Sommeil in the French Baroque Cantata
Maria Purciello, *05
And Dionysus Laughed: Opera, Comedy and Carnival in Seventeenth-Century Venice and Rome
Edward Coffey, *05
The Gentle Guerilla: Composing Transmission in the Performing Arts
Compositions: Georgia, &c., Fountain Etude No. 3, and Untitled (Koans)
Randall Bauer, *05
A Certain State of Surrender: Toward a Jarrettian Landscape of Spontaneity
Composition: Whirlgigs and Gewgaws
John Speagle, *05
Opera and Parisian Boulevard Theatre, 1800-1850
Marisa Biaggi, *06
Ogni amante è guerrier": Monteverdi and the War of Love in Early Modern Italy
Jason Stell, *06
The Flat-7th Scale Degree in Tonal Music
Benjamin Binder, *06
Intimacy, Introversion and Schumann’s Lieder
Newton Armstrong, *06
An Enactive Approach to Digital Musical Instrument Design
Compositions: Q. What’s red and invisible? A. No tomatoes. or, ‘Their ear is uncircumcised.’
(Jeremiah 6.10) and Four Pieces
Emily Doolittle, *06
Other Species’ Counterpoint: An Investigation of the Relationship between Human Music and
Animal Songs
Compositions –Five O’Clock, All Spring, Have You, Ruffed Grouse, Just When
Sindhumathi Revuluri, *07
On Anxiety and Absorption: Musical EncountersWith the Exotique in Fin-de-Siecle France
Colby Leider, *07
Dissonance Theory of Sound Objects
Composition: Tilt
Stella Baty Landis, *07
The Soviet Operas of Sergei Prokofiev”
Nathan Michel, *07
Creative Control: Morton Feldman, Lars von Trier, and Frank Zappa.
Compositions: The Beast, The Beast Transcriptions
Alan Tormey, *07
Music and Other Music: Strategies of Work-Identity, Appropriation, and Narrative in the
Contemporary Listening Experience
Compositions: Cowboy Song (Hope Dies Last)
Miriama Young, *07
Singing the Body Electric: The Recorded Voice, the Mediated Body
Compositions: The Inner Voices of Blue, The Prime Cut, & Titlipur
Joseph Christopher Rowland, *07
Listen and See: The Musical Provocation of Visual Imagery
Compositions: The Halls of Hunterdon Central
Gregory Spears, *07
The Final Page of Mahler’s Ninth Symphony
Compositions: Owen Songs
Maura Bosch, *07
Everyone Can Compose Music\
Compositions: Bronte Songs, Interior Geometries,In the Meantime, The Turning
George Anthony Harne, *08
Theory and Practice in the Speculum Musicae
Scott Smallwood, *08
Toward Sound
Composition: Slow Heating
Paulo Jorge Botelho, *08
The Sound of the Medium
Composition: The Light: A One Act Opera
Patricia Alessandrini, *08
Temporal Problematics Raised by Two Metric Versions of Luciano Berio’s Sequenza VII: A
ComputerAssisted Analysis and its Implications for Computer-Aided Composition
Composition: De profundis clamavi (homage à Alban Berg)
Valeria DeLucca, *08
Dalle Sponde del Tebro alle Rive dell'Adria: Maria Mancini & Lorenzo Onofrio Colonna's
Patronage of
Music & Theater between Rome & Venice (1659-1675)
Oscar Bettison, *08
I Wanna Take You Higher: The Stylistic Development & Cultural Dissemination of PostPsychedelic
Funk Music
Composition: O Death
John Peter Supko, Jr. *09
Points & Lines: The Musical Language of Erik Satie
Composition: Littoral
Elizabeth W. Biggs *09
Everyone Play: Sound, Public Space and the (Re)Making of Place
Composition: 11 Dreams in Red Hook
Laura Hedden *09
The Motivic Code: Defining an Element of Mahler’s Style
Andrew Oster *10
Radio, Rubble, and Reconstruction: The Genre of Funkoper in Postwar Occupied Germany and
the German Federal Republic 1946-1957
Emily Catherine Snow *10
The Lady of Sorrows: Music, Devotion, and Politics in the Burgundian-Habsburg Netherlands
Cara Leanne Wood *10
Representing the Midwest in American Stage and Film Musicals, 1943-1962
Daniil Yakov Zavlunov *10
M.I. Glinka’s A Life For the Tsar (1836): An Historical and Analytic-Theoretical Study
Maureen Gupta *11
Diaghilev’s Sleeping Princess (1921)
David T. Little *11
The Critical Composer: Political Music During And After “The Revolution”
Composition: Soldier Songs
Lisa R. Coons *11
Gender, Identity and the Voice in the Music of the Composer/Performer
Compositions: Cross-Sections: Four Pieces For Electric Guitar Quartet & Cythére (A Trauma
Ballet in Two Parts)
Stefan Weisman *11
The Mind Music of Yoko Ono: Screams and Silences at the Intersection of the Real and the
Imagined
Composition: Darkling
Patrick Wood Uribe *11
Form as Reasoned Freedom: Adolph Bernhard Marx’s Theoretical and Critical Writings in the
Context of German Romantic Philosophy.
Sean McClowry *11
The Song of the Convert: Religious Conversion and its Impact of the Music of Franz Liszt, Arvo
Pärt, and John Coltrane
Composition: Concerto for Double Bass and Chamber Ensemble
Julia Wolfe *12
Embracing the Clash
Composition: Steel Hammer
John Rego *12
“Skryabin, Rakhmaninov, and Prokofiev as Composer-Pianists: The Russian Piano Tradition,
Aesthetics, and Performance Practices.
Johanna Frymoyer *12
“Rethinking the Sign: Stylistic Competency and Interpretation of Musical Textures, 1890-1920”
Kar Fai Samson Young * 12
“Reading Contemporary Chinese Music: Reconsidering Identity and Cultural Politics in
Analysis”
Compositions: Electric Counterpoint - Concerto for orchestra, tape and improvised electronics
and I am thinking in a room, different from the one you are hearing in now (homage to Alvin
Lucier) - for two performers with EEG sensors, woodblocks, snare drums and electronics
Seth Cluett * 12
“Loud Speaker: Towards a Component Theory of Media Sound”
Composition: Forms of Forgetting
Michael Early * 13
Rock Music and the Language of Fantasy: The Music of Yes’ “Relayer”
Compositions: Lost in Translation & Stripes with Plaid
Andrew Lee * 13
Charlatans, Saltimbanques and Lumpen Songs: The Emergence of the Guitar From the Ghetto of
Western Art Music
Compositions: Five Refractions of a Prelude by Bach
Nicholas Lockey * 13
The Viola as a Secret Weapon in Antonio Vivaldi’s Orchestral Revolution: Sonority and Texture
in Late Baroque Italian Music:
Katherine Kennedy Steiner *13
Notre Dame in Scotland: W1 and Liturgical Reform at St. Andrews
Adrian Carr * 13
The Era of Master Domain Music: 1964-1994
Compositions: In America, I Live in Newark, Narrow Road to the Interior, The Colour of Love,
Through a Doorway, The Wave Home & Among Dandelions and Ghosts.
N. Cameron Britt* 13
Actuated Acoustic Instruments: Relationships and Mind-sets
Compositions: Fill Up Jar & Ctenophora
Anne Hege* 14
A Spirit in the Flesh: Essays on the Relationship between Body and Meaning
Composition: A Spirit in the Flesh
Ryan Brown* 14
From EDM to Math Rock: Metrical Dissonance in the Music of Battles
Composition: Gangbusters for mixed amplified ensemble
Phoebe Myhill* 14
Fugues and Contrasting Forms in Five Beethoven String Quartets
Composition: Quartet No. 2
Somangshu Mukherji* 14
Generative Musical Grammar – A Minimalist Approach
Micaela Baranello* 14
The Operetta Empire: Popular Viennese Music Theater and Austrian Identity, 1900-1930
Jeffrey Levenberg* 14
Giovanni d’Avella’s Regole di Musica: A Defense of Gesualdo’s Chromaticism
Jamie Greenberg Reuland* 14
Music and Ritual in Venice and Its Mediterranean Empire (1200-1500)
Reuben de Lautour* 14
Histories of the Invisible: Music Technology Discourses in the Age of Phonography
Compositions: Harmonicity, Absent/Present, & Voicing
James Steichen* 14
George Balanchine in America: Institutions, Economics, and Aesthetics of the Nonprofit
Performing Arts, 1933-1954.
Mark Dancigers* 14
Articulating Continuums: Gestural Analysis of Works by Steven Mackey, Stravinsky, Brahms, and
Mozart
Composition: Electric Guitar Concerto
Gilad Cohen* 15
Expansive Rock: Large-Scale Structure in the Music of Pink Floyd
Compositions: “Ten Variations”
Hamish Robb*15
Embodying Meaning and Imagining Sound in Nineteenth-Century Piano Music
Elaine Fefferman*15
Why I Like Recordings
Composition: Here I Am
Konrad Kaczmarek*15
Playing With Time: Interacting with Timed Musical Machines
Compositions: Window’s that Won’t, Loligo, & Metamorphic_Gestures
Carolann Buff*15
Ciconia’s Equal Cantus Motets and the Creation of Early Fifteenth-Century Style
John Graham*15
The Transcription of Georgian Liturgical Chant