Music Theory

Recent Dissertations

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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 Bart&oacutek 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: F&eacutetis, 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
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