Previous Ph.D. Dissertations
Adler, Christopher. Pan-lom: Essays on Architecture I, for instrumental ensemble of Thai and western instruments: soprano saxophone, oboe, violin, viola, violoncello, ranaat ek, hammered dulcimer, khong wong yai, Thai handbell, mong, thone-rammana, contrabass, and mallet percussion instruments. 1999.
Bader, Kathleen. Tentative Embrace. 2010.
Boquiren, Sidney Marquez. Misa (Mass), in Tagalog, for chorus, strings, guitars, piano, and percussion. 1999.
Bower, John E. The Echo Over the Voice, for solo viola, chamber ensemble, and interactive electronics. 2007.
Carlson, James R. Rosarium philosophicum, for flute, oboe, clarinet, percussion, violin, viola, violoncello, and recorded sounds or 2 speaking voices. 2000.
Chen, Janet Jieru. Four Seasons after Haiku of Basho for Ensemble of Chinese Instruments; and Spring Air and Winter Night for Dizi, Zheng, and String Quartet. 2012.
Cho, Youngmi. Evolutionary Sketches for Flute, Clarinet in Bb, Percussion, Piano, Viola, and Cello. 2011.
Crawford, Benjamin. SuperConductors: Handbook for a New Democratic Music. 2011.
Christian, Bryan. Cardano, an opera in six scenes. 2015.
Davis, D. Edward. nowhere landscape, for clarinets, trombones, percussion, violins, and electronics. 2016.
DeAlmeida, Craig. The Vision of Isaiah, for soprano and baritone soli, chorus and orchestra or organ. 2004.
Faris, Marc. Cultural Studies, for brass quartet, rock band, and string quartet. 2003.
Fitzgerald, Jennifer. Having Once Been, for piano, harp, percussion, and string orchestra. 2005.
Garner, David Kirkland. Dark Holler for large chamber ensemble. 2014.
Gutnik, Tatiana. Indirect Reflections, electro-acoustic music for choreography. 2011.
Hambourger, Timothy. Last Wave Reached. 2013.
Harkins, H. James (Henry James) Brightening : a quartet for saxophones with electronics. 2001.
Herschberger, Todd. Concerto for Free Improvising Alto Saxophonist and Jazz Orchestra. 2008.
Hsu, Chia-yu. Fan Jing (Folk Images) for orchestra. 2009.
John, Antony. Hemisphere of Darkness, for chorus and large chamber ensemble. 2002.
Keesecker, Jamie. Into the Bends of Time, for chamber orchestra and electronics. 2016.
Kennedy, Michael. Echo / Swim and Glitter, a music+video composition. 2010.
Kotch, Alex. Alleys of Your Mind, for seven instruments and deejay. 2013.
Kouneva, Penka D. Cantata Where Nature and Soul Meet, for soprano and baritone soloists, mixed chorus and chamber orchestra. 1997.
Krishtal, Mikhail. Music For An Ensemble of Old Fortepianos, Enabled and Enhanced by Computer Processing. 2005.
Kuss, Mark. Shakro: an opera in one act. 1995.
Lam, George. The Persistence of Smoke: Opera in One Act, Libretto by John Justice. 2011.
Leary, Paul. Song of the Morrígan for Chamber Orchestra, Cries of Revelation for Chorus, Soloists and Large Instrumental Ensemble, and Fragments of a Dream for 5.1 Surround Electronics. 2011.
Limbert, Thomas. Timepiece, for amplified chamber ensemble and electronics. 2010.
Lipten, David. Stunt Double, for flute, clarinet, violin, cello, piano and percussion. 1997.
Llaneza Sandoval, Arístides. Bóveda Celeste, desierto en mi imaginación, for large ensemble. 2006.
Mallonée, Caroline. The Gift of the Magi: an opera in one act. 2006.
Malone, Ryan. Stabat Mater, for SATB choir. 2006.
Mayrose, John. String Theory for large ensemble and electronics. 2006.
Metcalf, Joanne. Missa Il Nome del Bel Fior, for solo voices (TTB), unaccompanied. 1999.
Ruccia, Daniel. Hallmarks, Sigils & Colophons for soprano, mezzo-soprano, alto, and chamber orchestra. 2013.
Sauerwein, A. M. (Andrew Mark). A Resurrection Series : nine movements after drawings by Randall Speck, for 16-player chamber orchestra. 2001.
Schimmel, Carl. Piano Concerto. 2008.
Scurria, Amy. Pearl, an opera in two acts. 2015.
Smirnov, Vladimir. Double Rainbow; Appalachiana. 2016.
Stewart, Kenneth David. Phase Locked Loop and Modulo Games; The Dogma Loops. 2016.
Stookey, Nathaniel. Out of the Everywhere, for orchestra. 2003.
Swartzel, Paul. Barbeque Man Unleashed: The Greatest Professional Wrestling Work of All Time, a symphonic ballet. 2013.
Trinastic, Michael. The Yellow Wallpaper: Music Drama in Three Scenes for Soprano and Chamber Orchestra. 2011.
Townley, Richard S. Apocalypse: an oratorio, for tenor and baritone soloists, SA boy choir, chorus, and orchestra. 2000.
Musicology and Performance Practice
Anderson, Christopher Scott. Reger, Straube, and the Leipzig school's tradition of organ pedagogy, 1898-1948.
Baade, Colleen Ruth. Music and music-making in female monasteries in seventeenth-century Castile. 2001.
Bailey, Candace Lea. English keyboard music, c1625-1680. 1992.
Boye, Gary R. Giovanni Battista Granata and the development of printed music for the guitar in seventeenth-century Italy: with a transcription of his works for solo guitar. 1995.
Breene, Samuel. Mozart's Violin Sonatas and the gestures of embodiment: the subjectivities of performance practice. 2007
Burris, Timothy. Lute and theorbo in vocal music in 18th-century Dresden: a performance practice study. 1997.
Calico, Joy Haslam. The politics of opera in the German Democratic Republic, 1945-1961. 1999.
Cook, Karen M. Theoretical Treatments of the Semiminim in a Changing Notational World, c.1315-c.1440. 2012.
Cooper, John Michael. Felix Mendelssohn Bartholdy and the Italian Symphony: historical, musical, and extramusical perspectives. 1994.
Crittenden, Camille. Viennese musical life and the operettas of Johann Strauss. 1997.
Dickey, Timothy John. Reading the Siena choirbook: a re-appraisal of the dating, musical repertories, and Marian performance context of the manuscript Siena, Biblioteca Comunale degli Intronati, MS. K.1.2. 2003.
Fergison, Drue Alexandra. Les noces: a microhistory of the Paris 1923 production. 1995.
Flynn, Jane. A reconsideration of the Mulliner book (British Library Add. Ms 30513): music education in sixteenth-century England. 1993.
Fontijn, Claire Anne. Antonia Bembo: les goûts réunis, royal patronage, and the role of the woman composer during the reign of Louis XIV. 1994.
Garcia, Thomas George Caracas. The Brazilian choro: music, politics and performance. 1997.
Geoffroy-Schwinden, Rebecca. A Revolution in Music: Performance, Politics, and the French Revolution. 2015.
Gerbino, Giuseppe. Orpheus in Arcadia: the creation of pastoral mode in the sixteenth-century madrigal. 2001.
Gier, Christina. Intertextuality in music and gender ideology in Alban Berg's modernist aesthetic. 2003.
Gibson, Jonathan B. Le naturel and l'éloquence: the aesthetics of music and rhetoric in France, 1650-1715. 2003.
Gramit, David. The intellectual and aesthetic tenets of Franz Schubert's circle: their development and their influence on his music. 1987.
Harwell, Anna Hedrick. "Unsre Kunst heisst poesie": Niels W. Gade's early compositions and their programmatic origins. 1996.
Heilman, Jason S. O du mein Österreich: patriotic music and multinational identity in the Austro-Hungarian empire. 2009.
Hirsch, Lily. Imagining "Jewish music": der Judische Kulturbund and musical politics in Nazi Germany 1933-1941. 2006.
Hunt, Graham Gregory. "Ever new formal structures": the evolution of the dialogue-scene in Wagner's Lohengrin. 2001.
Ishii, Akira. The toccatas and contrapuntal keyboard works of Johann Jacob Froberger: a study of the principal sources. 1999.
Itoh, Tatsuhiko. Music and musicians in the German Stammbucher from circa 1750 to circa 1815. 1991.
Joyner, Elizabeth Terry. The Evolution of Genre and Narrative Themes in Mahler's Vocal-Orchestral Works, from Das klagende Lied to the Eighth Symphony. 2013
Katz, Daniel Seth. The earliest sources for the Libellus cantus mensurabilis secundum Johannem de Muris. 1989.
Keyl, Stephen. Arnolt Schlick and instrumental music circa 1500. 1989.
Knapp, Raymond. Brahms and the problem of the symphony: romantic image, generic conception, and compositional challenge. 1987.
Kreitner, Kenneth Richard. Music and civic ceremony in late fifteenth-century Barcelona. 1990.
Kurpiers, Joyce. Reality by design: advertising image, music and sound design in the production of culture. 2009.
Lee, Gavin. Affect Theory and the Politics of Ambiguity: Liminality, Disembodiment, and Relationality in Music. 2014.
Leonard, Charlotte Anne. The role of the trombone and its Affekt in the Lutheran Church music of seventeenth-century Saxony and Thuringia. 1997.
Lerner, Neil William. The classical documentary score in American films of persuasion: contexts and case studies, 1936-1945. 1997.
Lowerre, Kathryn J. Music in the productions at London's Lincoln's Inn Fields Theater, 1695-1705. 1997.
Lowry, Yana. From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union. 2014.
Lynn, Donna Levern. Genesis, process, and reception of Anton Webern's twelve-tone music: a study of the sketches for opp. 17-19, 21, and 22/2 (1924-1930). 1992.
Mace, Angela. Fanny Hensel, Felix Mendelssohn Bartholdy, and the Formation of the Mendelssohnian Style. 2013.
Mattia, Kasey. Crossing the channel: cultural identity in the court entertainments of Queen Henrietta Maria, 1625-1640. 2007.
McElveen, Georgiary Bledsoe. "My hands, O God, I offer thee": religious social consciousness and cooperative power in the Metropolitan St. Louis Gospel Music Center, 1930-1960. 2002.
Montagnier, Jean-Paul. The church music of Charles-Hubert Gervais: sous-maître de musique at the Chapelle Royale. 1994.
Mueller, Darren. At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz. 2015.
Neill, Sarah Elaine. The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924. 2015.
Oleskiewicz, Mary A. Quantz and the flute at Dresden: his instruments, his repertory and their significance for the Versuch and the Bach circle. 1998.
Page, Janet Kathleen. Wind instruments in the music of Joseph Haydn, 1785-1798: studies in orchestration, compositional process, and musical structure. 1993.
Palenik, Jeffrey. The early career of Johannes Tinctoris: an examination of the music theorist's northern education and development. 2008.
Pollack, Janet. A reevaluation of Parthenia and its context. 2001.
Power, Tushaar. J.S. Bach and the divine proportion. 2001.
Pusey, Marcel. Haydn's instrumental music and the fallacy of Sturm und Drang: issues of style in the symphonies, string quartets, and keyboard sonatas c. 1766-72. 2005.
Pyatt, Janet Best. Music and society in eighteenth-century Germany: the music dramas of Johann Heinrich Rolle (1716-1785). 1991.
Pysnik, Stephen. Camp Identities: Conrad Salinger and the Aesthetics of MGM Musicals. 2014.
Smith, Jeremy. Sound, Mediation, and Meaning in Miles Davis's A Tribute to Jack Johnson. 2008.
Somoroff, Matthew. Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene. 2014.
Tatro, Kelley. The Righteous and Profane: Performing a Punk Solidarity in Mexico City. 2013.
Timofeyev, Oleg V. The golden age of the Russian guitar: repertoire, performance practice, and social function of the Russian seven-string guitar music, 1800-1850. 1999.
Tran, Quyen. Reconsidering the historical context of Cavalli's printed liturgical collections. 2008.
Uhde, Katharina. Psychologische Musik: Joseph Joachim, and the Search for a New Music Aesthetic in the 1850s. 2014.
Unsworth, Andrew Emerson. Organ pedagogy and performance practice in Boston, 1850-1900. 2001.
Wood, Jessica. Keys to the Past: Building Harpsichords and Feeling History in the Postwar United States. 2010.
Woodruff, Jennifer. Learning to Listen, Learning to Be: Girls and Hiphop in a Durham Boys and Girls Club. 2009.
Youmans, Charles Dowell. Richard Strauss's Guntram and the dismantling of Wagnerian musical metaphysics. 1996.
Zank, Stephen. L'arrière pensée in music of Maurice Ravel: sound, style and virtuosity. 1996.