Musicology

Recently completed PhD dissertations in Musicology

Eastman Graduates with the PhD in Musicology are working in universities and colleges across North America.  Places of employment include Yale, UCLA, Vassar, Rutgers, Notre Dame, Dickinson, Skidmore, Franklin and Marshall, University of Arkansas, Pennsylvania State University, Brigham Young, University of New Hampshire, Cincinnati College Conservatory, North Carolina School of the Arts, Oxford College of Emory University, Bowling Green State University, Western Michigan University, SUNY Geneseo, Ithaca College, Nazareth College (Rochester), University of Ottawa, University of Toronto, Mount Allison University, and the Hong Kong Academy for Performing Arts.  Other graduates work in administrative positions at the Philadelphia Orchestra and the Packard Institute for the Humanities.

Author (Last) First name Year Title Advisor(s) Now
GreenJohn 2020 “Available to our Ears”: John Cage and Broadcast MediaLisa JakelskiMusic Teacher, Columbus West Elementary
Cornish Gabrielle 2020 Sounding Socialist, Sounding Modern: Music, Technology, and Everyday Life in the Soviet Union, 1956-1975Lisa Jakelski Faculty, The Frost School of Music at the University of Miami
BlaszkiewiczJacek2018City Myths: Music and Urbanism in Second-Empire ParisRalph LockeFaculty, Wayne State University
LubarskyEric2018Reviving Early Music: Metaphors and Modalities of Life and Living in Historically Informed PerformanceMelina EsseSenior Editor, Carnegie Hall
Steigerwald IlleMegan2018Bringing Down the House: Situating and Mediating Opera in the Twenty-First CenturyMelina EsseFaculty, College-Conservatory of Music, University of Cincinnati
KehrerLauron2017Beyond Beyoncé: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016Lisa JakelskiFaculty, University of Western Michigan
Fuchs SampsonSarah2016Technologies of Singing, Teaching, and Spectating in French Operatic Culture, 1870-1914Melina EsseFaculty, Syracuse University
JamesC. Aaron2016Transforming the Motet: Sigmund Salminger and the Adaptation and Reuse of Frenco-Flemish Polyphony in Reformation AugsburgHoney MeconiMusic Director, Toronto Oratory
Cassidy-HeacockTyler2015The Sung Self of Syllables: Interpretive Paradigms for Contemporary Vocal MusicHolly WatkinsAssistant Director of Development, Hochstein School of Music & Dance.”
ComptonRegina2015The Recitativo Semplice in Handel's Operas for the First Royal Academy of Music, 1720-1728.Roger FreitasIndependent scholar
SermerTanya2015"The Battle for the Soul of Jerusalem": Musical Language, Public Performance, and Competing Discourses of the Israeli Nation-StateEllen KoskoffLecturer at the Hebrew University of Jerusalem and Artistic Producer of the Jerusalem Oratorio Choir
WeaverAnne Marie2015Art Song in Nineteenth-Century Russia: An International ExplorationRalph LockeIndependent scholar
EhmanCaroline2013Reimagining Faust in Postmodern OperaRalph LockeFaculty, Brandon University
HousezLara2013Becoming Stephen Sondheim: Anyone Can Whistle, A Pray by Blecht, Company and Sunday in the Park with GeorgeKim KowalkePart-time instructor, McMaster University; private voice studio; vocal recitalist
KintnerAmy2013"She's So Busy Being Free": The Dynamics of Utopia in Popular Music by Women, 1968-2008Holly WatkinsFree-lance book editor
KrishnamurthyRohan2013Virtual Gurukulavasa: Tradition and Innovation in Online Carnatic Percussion PedagogyEllen KoskoffIndependent scholar
FavaCristina2012Music and Politics in New York City in the 1930sKim KowalkeFaculty, Western Michigan University
MorrowMatthew2012"Complex Impressions": Nature in the Music and Criticism of Claude DebussyHolly WatkinsIndependent scholar
StefaniakAlexander2012Poetic Virtuosity: Robert Schumann as a Critic and Composer of Virtuoso Instrumental MusicRalph LockeAssistant professor of musicology, Washington University in St. Louis
TealKimberly2012Living Traditions: Embodying Heritage in Contemporary Jazz PerformanceMelina EsseFaculty, University of Arkansas
KimCindy2011Changing Meanings of Ornamentation in Nineteenth-Century Italian OperaMelina EsseIndependent scholar
RonyakJennifer2010Performing the Lied, Performing the Self: Singing Subjectivity in Germany, 1790-1832Holly WatkinsSenior Scientist, Institut für Musikästhetik, Universität für Musik und darstellende Kunst (Graz, Austria)
MowreyHannah2010The Alamire Manuscripts of Frederick the Wise: Intersections of Music, Art, and TheologyHoney MeconiDirector, Redeemer Center for Worship and Music; adjunct professor for music and worship, Redeemer Seminary
AxtellKatherine2009Maiden Voyage: The Genesis and Reception of Show Boat, 1926-1932Kim KowalkePart-time instructor, James Madison University School of Music
DeanAlexander2009The Five-Course Guitar and Seventeenth-Century Harmony: Alfabeto and Italian SongRoger FreitasEditor, A-R Editions
NedbalMartin2009Morals Across the Footlights: Viennese Singspiel, National Identity, and the Aesthetics of Morality, c. 1770-1820Ralph LockeFaculty, University of Kansas
Martinez FigueroaAdriana2009Music and the Binational Imagination: The Musical Nationalisms of Mexico and the United States in the Context of the Binational Relationship, 1890-2009Ellen KoskoffIndependent scholar
AlajajiSylvia2009Diasporic Communities and Negotiated Identities: Trauma, Recovery, and the Search for the Armenian Musical VoiceEllen KoskoffAssociate professor of music, Franklin and Marshall College
LottMarie Sumner2008Audience and Style in Nineteenth-Century Chamber Music, c. 1830 to 1880Ralph LockeAssistant professor of music history, Georgia State University
BrodskySeth2007Utopian Strains: Berio, Ligeti, Rihm and LachenmannJürgen Thym and Daniel AlbrightAssistant professor of music and the humanities, University of Chicago
AdlerAyden2007“Classical Music for People Who Hate Classical Music”: Arthur Fiedler and the Boston Pops, 1930-1950Kim KowalkeSenior vice president and dean of musicians, New World Symphony
WlodarskiAmy2006The Sounds of Memory: German Musical Representations of the Holocaust, 1945-1965Kim KowalkeAssociate professor of music history and director of the College Choir, Dickinson College
NicholsonSara2006Beyond Quotation: Intertextuality in Popular Music Since 1990Martin ScherzingerIndependent scholar
GrimshawJeremy2005Music of a “More Exalted Sphere”: Compositional Practice, Biography, and Cosmology in the Music of La Monte YoungKim KowalkeAssociate professor of music, Brigham Young University
RothMarjorie2005The Voice of Prophecy: Orlando di Lasso’s Sibyls and Italian HumanismKerala J. SnyderProfessor of music, Nazareth College
WellsElizabeth2004West Side Story(s): Changing Perspectives on an American MusicalRalph P. LockeChair of music and holder of Pickard-Bell chair in music, Mt. Allison College
PelkeyStanley2004British National Identities and Keyboard Music in the Later Georgian PeriodRalph P. LockeDean of the School of Liberal Arts and Sciences and associate professor of music at Roberts Wesleyan College
MakSu Yin Suzanna2004Structure, Design, and Rhetoric: Schubert’s Lyricism ReconsideredGretchen Wheelock and David BeachAssociate professor of music theory, Chinese University of Hong Kong
HaskinsRobert2004An Anarchic Society of Sounds: The Number Pieces of John CageJürgen Thym and Robert MorrisAssociate professor of music, University of New Hampshire
CarliPhilip2003Synergy in America's Early Talking Machine Industry: Technological, Commercial, Cultural, and Musical Factors in Band and Orchestral Recordings, 1894-1917Ralph P. LockeConductor, Flower City Society Orchestra; silent film accompanist
KalynAndrea2002Constructing a Nation's Music: Howard Hanson's American Composer's Concerts and Festivals of American Music, 1925-71Kim KowalkeDean of the Conservatory of Music, Oberlin College and Conservatory
BittmannAntonius2001Negotiating Past and Present: Max Reger and Fin-de-siècle ModernismsJürgen Thym and Ralph P. LockeProfessor of musicology and organ, Rutgers University
ReynoldsAnne-Marie1998The Songs of Carl NielsenAlfred MannAssociate professor of music, Geneseo, State University of New York
DoddsMichael1998The Baroque Church Tones in Theory and PracticeKerala J. SnyderAssociate professor and head of music history, North Carolina School of the Arts
FrandsenMary1997The Sacred Concerto in Dresden, ca. 1660-1680Kerala J. SnyderAssociate professor of music; director of resources and outreach, Notre Dame University
PisaniMichael1996Exotic Sounds in the Native Land: Portrayals of North American Indians in Western MusicRalph P. LockeProfessor and chair of music, Vassar College
LovelandKarl1996Reading Donizetti's La fille du régiment: Genesis, Transformations, and InterpretationsRalph P. LockeVice president and product manager, Citi; formerly assistant professor, University of Toledo
ParmerDillon1995Brahms the Programmatic? A Critical AssessmentJürgen ThymAssociate professor of music and director of undergraduate studies, University of Ottawa School of Music
McClungBruce D.1995American Dreams: Analyzing Moss Hart, Ira Gershwin and Kurt Weill's Lady in the DarkKim KowalkeAssociate professor of musicology, University of Cincinnati College-Conservatory of Music
LevitzTamara1994Teaching New Classicality: Busoni's Master Class in Composition, 1921-1924Kim KowalkeProfessor of musicology, UCLA
BuchLaura1993Seconda prattica and the Aesthetic of Meraviglia: The Canzonettas and Madrigals of Tomaso Pecci (1576-1604)Patrick MaceyStaff editor, C. P. E. Bach, The Complete Works
WilsonRichard Todd1992The Development of the German Keyboard Canzona and its Reflection in the Work of Gottlieb MuffatAlfred Mann 
ArchettoMaria1991Francesco Portinaro and the Academies of the Veneto in the Sixteenth CenturyPatrick MaceyAssociate professor of music, Oxford College of Emory University
NatvigMary1991The Latin-texted Works of Antoine BusnoisPatrick MaceyProfessor of musicology, Bowling Green State University
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Musicology Newsletter 2019
Musicology Newsletter 2018
Musicology Newsletter 2017