Music Theory
Recent Dissertations
Records - of
Author (Last) |
First name |
Year |
Title |
Advisor |
|---|---|---|---|---|
| Adrian | John | 1987 | Development Sections That Begin with the Tonic | David Beach |
| Alegant | Brian | 1992 | The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical Implications | Robert Morris |
| Au | Aiu-Wah | 2003 | Diminution: Schenkerian Theory,and Variation Form: Three Case Studies | Matthew Brown |
| Auerbach | Brent | 2005 | The Analytical Grundgestalt: A New Model and Methodology Based on the Music of Johannes Brahms | Steve Laitz |
| Aziz | Andrew | 2013 | In Name Only: The Interaction of Title and Genre in the Sonata Forms of Debussy and Ravel | Jonathan Dunsby |
| Bartlette | Christopher | 2007 | A Study of Harmonic Distance and Its Role in Musical Performance | David Temperley |
| Bisciglia | Sebastiano | 2013 | On Row-Class Equivalence Classes | Dave Headlam |
| Bribitzer-Stull | Matthew | 2001 | Thematic Development and Dramatic Association in Wagners Der Ring Des Nibelungen | Matthew Brown |
| Buchler | Michael | 1998 | Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity | Robert Morris |
| Burggraff | Nathan | 2015 | Music and Theology in a Postmodern Culture: Conceptual Integration in Compositions by Adams, Glass, Golijov, and Reich | Elizabeth West Marvin |
| Cadwallader | Allen | 1983 | Multi-leveled Motivic Repetition in Selected Intermezzi for Piano of Johannes Brahms | David Beach |
| Cairns | Zachary | 2010 | Multiple Row Serialism in the Music of Edison Denisov | Dave Headlam |
| Callahan | Michael | 2010 | Techniques of Keyboard Improvisation in the German Baroque and Their Implications for Today’s Pedagogy | Robert Wason |
| Capuzzo | Guy | 1999 | Variety Within Unity: Expressive Ends and Their Technical Means in the Music of Elliott Carter 1983-1994 | Robert Morris |
| Carey | Norman | 1998 | Distribution Modulo 1 and Musical Scales | Robert Morris |
| Chang | Philip | 2011 | Form, Rhythm, Performance, and Analysis of French Unmeasured Keyboard Preludes 1630-1730 | Matthew Brown |
| Chong | Eddy K. M. | 2002 | Extending Schenker’s Neue musikalische Theorien und Phantasien: Towards a Schenkerian Model for the Analysis of Ravel’s Music | Matthew Brown |
| Chuck | Gavin | 2004 | Toward a Cognitive Theory of Musical Meaning | Robert Wason |
| Clevenger | John | 1993 | The Origins of Debussy’s Style | Aleck Brinkman |
| Cohn | Richard | 1987 | Transpositional Combination in 20th-Century Music | Robert Morris |
| Crotty | John | 1986 | Design and Harmonic Organization in Beethoven’s String Quartet, Op. 131 | David Beach |
| Crumbley | Stefanie | 2002 | Tonal Voice Leading as an Analytic Basis for Liszt’s Late Experimental Music | Matthew Brown |
| Declercq | Trevor | 2012 | Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock Music | David Temperley |
| Fleshner | Nathan | 2012 | The Musical Psyche: Interactions Between the Theories of Heinrich Schenker and Sigmund Freud | Matthew Brown |
| Flowers | Andrew | 2013 | Rhythm in the Polyphonic Conductus: A Computational Model and Its Implications | David Temperley |
| Folio | Cynthia | 1985 | An Analysis and Comparison of Four Compositions by Joseph Schwantner: and the Mountains Rising Nowhere Wild Angels of the Open Hills Aftertones of Infinity and Sparrows | Robert Morris |
| Franck | Peter | 2007 | The Role of Invertible Counterpoint within Schenkerian Theory | Matthew Brown |
| Goyette | Jeremiah | 2012 | The Z-Relation in Theory and Practice | Dave Headlam |
| Gross | Austin | 2011 | Bill Evans and the Craft of Improvisation | Robert Wason/Matthew Brown |
| Hanninen | Dora | 1996 | A General Theory for Context-Sensitive Music Analysis: Applications to Four Works for Piano by Contemporary American Composers | Robert Morris |
| Heath | Mary Jo | 1988 | A Comparative Analysis of Dukas’s Arian Et Barbe-Bleu and Bartók’s Duke Bluebeards Castle | Marie Rolf |
| Hermann | Richard | 1994 | A General Measurement for Similarity Relations a Heuristic for Constructing or Evaluating Aspects of Possible Musical Grammars | Robert Morris |
| Huguet | Joan | 2015 | Formal Functions and Voice-Leading Structures in Beethoven’s Early Sonata-Rondo Finales | William Marvin |
| Inman | Samantha | 2014 | The Nexus of Inner and Outer Form in Joseph Haydn’s Late Instrumental Sonata Movements | William Marvin |
| James | Emma | 2017 | Telling Tales: Narrative Semiotics in the Music of Béla Bartók, | Jonathan Dunsby |
| Jenkins | John Daniel | 2007 | Issues of Form in Schoenberg’s Atonal Period Vocal Music: Three Case Studies | Dave Headlam |
| Jones | Evan | 2002 | Pervasive Fluency: A Contrapuntal Definition of Stability and Transience in Tonal Music | Norman Carey |
| Jurkowski | Edward | 1998 | A Theory of Harmonic Structure and Voice-Leading for Atonal Music | Dave Headlam |
| Kaminsky | Peter | 1990 | Aspects of Harmony, Rhythm and Form in Schumann’s Papillons, Carnaval and Davidsbündlertänze | David Beach |
| Koslovsky | John | 2009 | Felix Salzer and the Transmission of Schenkerian Thought in the United States | Matthew Brown – Robert Wason |
| Kraus | Joseph | 1987 | Contexts for Chromatic Third Relations in the Late String Quartets and Quintets of Wolfgang Amadeus Mozart | David Beach |
| Krumholz | Jay | 1995 | Friedrich Wilhelm Marpurg’s Abhandlung von der Fuge | David Beach |
| Kuczynski | Alex | 2014 | From Diminution to Autonomous Themes in Schenkerian Theory: Bridging the Divide between Tonally Organic and Modern Thematic Music | Jonathan Dunsby |
| Laitz | Steve | 1992 | Pitch-Class Motive in the Songs of Franz Schubert: The Submediant Complex | Robert Wason |
| Lambert | Jay Philip | 1987 | Compositional Procedures in Experimental Works of Charles E. Ives | Robert Gauldin |
| Lawson Brown | Jenine | 2014 | Cognitive Models of Intervals in Twelve-Tone Music: Webern’s Concerto, Op. 24, and Other Works | Elizabeth West Marvin |
| Leong | Daphne | 2001 | A Theory of Time-Spaces for the Analysis of Twentieth-Century Music: Applications to the Music of Bela Bartók | Robert Morris |
| Lewis | Christopher | 1983 | Tonality and Structure in the Ninth Symphony of Gustav Mahler | David Beach |
| Love | Stefan | 2011 | On Phrase Rhythm in Jazz | Robert Wason |
| Lundberg | Justin | 2012 | A Theory of Voice-Leading Sets for Post-Tonal Music | Dave Headlam |
| Mailman | Joshua | 2010 | Temporal Dynamic Form in Music: Atonal, Tonal, and Other | Robert Morris |
| Mak | Susanna Yin | 2004 | Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert | Gretchen Wheelock – David Beach |
| Marlowe | Sarah | 2013 | Fugue in Context: A Schenkerian Approach to Select Works by J.S. Bach and Dmitri Shostakovich | William Marvin |
| Marvin | Elizabeth West | 1989 | Cognitive Structures and Strategies for the Understanding of Non-Tonal Music: Their Analytical and Pedagogical Implications | Robert Morris |
| Marvin | William | 2002 | Tonality in Selected Set-pieces from Richard Wagner’s Die Meistersinger Von Nurnberg: A Schenkerian Approach | Matthew Brown |
| Mavromatis | Panayotis | 2005 | The Echoi of modern Greek church chant in written and oral transmission : a computational model and its cognitive implications | Matthew Brown |
| McGowan | James | 2005 | Dynamic Consonance in Tonal Jazz | Robert Wason |
| Miller | Paul | 2009 | Stockhausen and the Serial Shaping of Space | Dave Headlam |
| Murphy | Scott | 2004 | Relations Among Boundaries, Expectations, and Closure in Tonal and Post-Tonal Music | Daniel Harrison |
| Neal | Jocelyn | 2002 | Song Structure Determinants: Poetic Narrative, Phrase Structure, and Hypermeter in the Music of Jimmie Rodgers | Dave Headlam |
| Nelson | Richard | 1984 | Theories of Harmonic Modulation in Selected German Treatises of the 18th-Century | David Beach |
| Ng | Yuet-Hon Sam | 2005 | A Grundgestalt Interpretation of Metric Dissonance in the Music of Johannes Brahms | Dave Headlam |
| Painter | Noel | 2000 | Exploring Contour Associations Through Transformation Networks: Identification and Classification of Contour Relations in Modern Multiple Percussion Music | Elizabeth Marvin |
| Palmer | David | 1998 | Polar Processes in Stravinsky’s Neoclassical Music | Daniel Harrison |
| Patty | Austin | 2006 | A Theory of Pacing Scenarios with Application to the Violin Sonatas of Brahms | Dave Headlam |
| Peters | Penelope | 1990 | French Harmonic Theory in the Conservatoire Tradition: Fétis, Reber, Durand, and Gevaert | Robert Wason |
| Poulin | Pamela | 1983 | Three Stylistic Traits in Poulenc’s Chamber Works for Wind Instruments | Robert Gauldin |
| Quinn | Ian | 2004 | A Unified Theory of Chord Quality in Equal Temperaments | Robert Morris |
| Rabinovitch | Gilad | 2015 |
Tracing Galant Threads: Gjerdingen’s Schemata and the Evolution of Musical Form, 1730-1780
|
Matthew Brown |
| Randall | Richard | 2006 | A General Theory of Comparative Music Analysis | Robert Morris |
| Reed-Knouse | Nola | 1983 | The Theories of Joseph Riepel as Expressed in His Ansangsgrunde zur Musicalischen Setzkunst (1752-1768) | David Beach |
| Ricci | Adam | 2004 | The Nineteenth-Century Sequence as Transformation of Eighteenth-Century Models | Daniel Harrison |
| Richards | James | 1986 | Pitch Structure in the Opera Don Rodrigo of Alberto Ginastera | David Beach |
| Rifkin | Deborah | 2000 | Tonal Coherence in Prokofievs Music: A Study of Interrelationships of Structure, Motives and Design | Daniel Harrison |
| Rogers | Nancy | 2000 | The Role of Verbal Encoding in Memory for Musical Timbre and Pitch Patterns | Elizabeth Marvin |
| Rohr | Deborah | 1997 | Brahm’s Metrical Dramas: Rhythm, Text Expression, and Form in the Solo Leider | Robert Wason |
| Sallmen | John Mark | 1998 | A Flexible Approach to Ordering and Grouping in Atonal Music in General: Text-Music Relations in Elliott Carter’s In Sleep, In Thunder in Particular | Robert Morris |
| Silberman | Peter | 2006 | Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal Music | Daniel Harrison – Norm Carey |
| Sly | Gordon | 1995 | An Emerging Symbiosis of Structure and Design in the Sonata Practice of Franz Schubert | David Beach |
| Sommerville | David | 2009 | Consistency, context, and symmetry in Alberto Ginastera’s String quartets nos. 1 (1948) and 2 (1958, first version) | Dave Headlam |
| Spiegelberg | Scott Charles | 2002 | The psychoacoustics of musical articulation | Dave Headlam – Betsy Marvin |
| Stephan-Robinson | Anna | 2009 | Form in Paul Simon’s Music | John Covach |
| Taavola | Kristin | 2002 | Cyclic shape theory: an approach to modeling modal processes in pieces from Balinese gamelan and Bartok | Dave Headlam |
| Tan | Daphne | 2013 | Ernst Kurth at the Boundary of Music Theory and Psychology | Robert Wason |
| Terefenko | Dariusz | 2004 | Keith Jarrett’s Transformation of Standard Tunes | Robert Wason – Matthew Brown |
| Titus | Jason | 2010 | Miles Davis’ “So What” as Modal Jazz Case Study | Robert Wason/Matthew Brown |
| Traut | Donald | 2002 | Displacement and Its Role in Schenkerian Theory | Matthew Brown |
| Trucks | Louise | 1992 | The Metric Complex in Johannes Brahms’s Klavierstücke, Op. 76 | David Beach |
| Uno | Yayoi | 1994 | Avant-garde Music circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and Xenakis | Robert Morris |
| Wadsworth | Ben | 2008 | Dialectical Opposition in Fin-de-siecle Music: A Model of Balance applied to Melodic Motives, Harmonic Context, and their Interaction | Dave Headlam |
| Waller | Adam | 2017 | Rhythm and Flow in Hip-Hop Music: A Corpus Study | David Temperley |
| Waters | Keith | 1997 | Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger | Robert Wason |
| Wells | Robert | 2015 | A Generalized Intervallic Approach to Metric Conflict | Robert Morris |
| Wise | Herbert | 1987 | The Relationship of Pitch-Sets to Formal Structure in the Last Six Piano Sonatas of Scriabin | David Beach |
