| Author Last Name |
First Name |
Year |
Title |
Advisor |
| Baker |
Benjamin |
2021 |
Standard Practices: Intertextuality, Agency, and Improvisation in Jazz Performances of Modern Popular Music |
John Covach |
| Blankenship |
Michael |
2021 |
/Hip-Hop Hed/: A New Way to Hear the Music of Emcees |
Henry Klumpenhouwer |
| Hier |
David |
2021 |
An Examination of Harmony and Form in Schoenberg’s Atonal Music |
Henry Klumpenhouwer |
| Lustig |
Ethan |
2021 |
The Effect of Perceived Complexity and Formal Location on Musical Preference |
David Temperley |
| Reenan |
Samuel |
2021 |
Analytical Problems of Aesthetics, Genre, and Large-Scale Form in Germanic Music, 1905-15 |
Jonathan Dunsby |
| VanderStel |
Joseph |
2021 |
The Evolution of Syncopation in 20th-Century Popular Music |
David Temperley |
| Fleming |
Amy |
2020 |
Harmonic Juxtaposition and Multidimensional Approaches in George Crumb’s The River of Life (2003) and The Ghosts of Alhambra (2008) |
Henry Klumpenhouwer |
| Keep |
David |
2020 |
Re-creativity in Brahms’s Opp. 80-90 |
Jonathan Dunsby |
| Ketter |
Daniel |
2020 |
Heinrich Schenker’s Essential Voice : Tracing the Concept of an Essential Voice in Johann Sebastian Bach’s Works for Solo Melodic Instruments |
Matthew Brown |
| Kim |
Catrina |
2020 |
The Romantic Introduction |
William Marvin |
| Siu |
Joseph |
2020 |
Phrase-Rhythmic Norms in Haydn’s and Mozart’s Sonata Expositions |
David Temperley |
| Barna |
Alyssa |
2019 |
Examining Contrast in Popular and Rock Music |
John Covach |
| Fulton |
Anna |
2019 |
Other Voices : Listening to Musical (Dis)embodiment |
Seth Monahan |
| Belcher |
Owen |
2018 |
Analytical Studies of Selected Cantatas by J.S. Bach |
Henry Klumpenhouwer |
| Bivens |
Samuel |
2018 |
Form and Forms in Wagner’s Die Walküre |
William Marvin |
| Grant |
Aaron |
2018 |
Schubert’s Three-Key Expositions |
Seth Monahan |
| Reese |
Alan |
2018 |
Analytical Approaches to the Middle-Period Compositions of Karol Szymanowski |
Henry Klumpenhouwer |
| Sullivan |
James |
2018 |
Meter, Melodic Parallelism, and Metric Manipulation in Post-Tonal Music |
David Temperley |
| James |
Emma |
2017 |
Telling Tales: Narrative Semiotics in the Music of Béla Bartók |
Jonathan Dunsby |
| Waller |
Adam |
2017 |
Rhythm and Flow in Hip-Hop Music: A Corpus Study |
David Temperley |
| Burggraff |
Nathan |
2015 |
Music and Theology in a Postmodern Culture: Conceptual Integration in Compositions by Adams, Glass, Golijov, and Reich |
Elizabeth West Marvin |
| Huguet |
Joan |
2015 |
Formal Functions and Voice-Leading Structures in Beethoven’s Early Sonata-Rondo Finales |
William Marvin |
| Rabinovitch |
Gilad |
2015 |
Tracing Galant Threads: Gjerdingen’s Schemata and the Evolution of Musical Form, 1730-1780 |
Matthew Brown |
| Wells |
Robert |
2015 |
A Generalized Intervallic Approach to Metric Conflict |
Robert Morris |
| Inman |
Samantha |
2014 |
The Nexus of Inner and Outer Form in Joseph Haydn’s Late Instrumental Sonata Movements |
William Marvin |
| Kuczynski |
Alex |
2014 |
From Diminution to Autonomous Themes in Schenkerian Theory: Bridging the Divide between Tonally Organic and Modern Thematic Music |
Jonathan Dunsby |
| Lawson Brown |
Jenine |
2014 |
Cognitive Models of Intervals in Twelve-Tone Music: Webern’s Concerto, Op. 24, and Other Works |
Elizabeth West Marvin |
| Aziz |
Andrew |
2013 |
In Name Only: The Interaction of Title and Genre in the Sonata Forms of Debussy and Ravel |
Jonathan Dunsby |
| Bisciglia |
Sebastiano |
2013 |
On Row-Class Equivalence Classes |
Dave Headlam |
| Flowers |
Andrew |
2013 |
Rhythm in the Polyphonic Conductus: A Computational Model and Its Implications |
David Temperley |
| Marlowe |
Sarah |
2013 |
Fugue in Context: A Schenkerian Approach to Select Works by J.S. Bach and Dmitri Shostakovich |
William Marvin |
| Tan |
Daphne |
2013 |
Ernst Kurth at the Boundary of Music Theory and Psychology |
Robert Wason |
| 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 |
| Goyette |
Jeremiah |
2012 |
The Z-Relation in Theory and Practice |
Dave Headlam |
| Lundberg |
Justin |
2012 |
A Theory of Voice-Leading Sets for Post-Tonal Music |
Dave Headlam |
| Chang |
Philip |
2011 |
Form, Rhythm, Performance, and Analysis of French Unmeasured Keyboard Preludes 1630-1730 |
Matthew Brown |
| Francis |
Kelly |
2011 |
Attention and Polyphonic Music |
David Temperley |
| Gross |
Austin |
2011 |
Bill Evans and the Craft of Improvisation |
Robert Wason/Matthew Brown |
| Love |
Stefan |
2011 |
On Phrase Rhythm in Jazz |
Robert Wason |
| 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 |
| Mailman |
Joshua |
2010 |
Temporal Dynamic Form in Music: Atonal, Tonal, and Other |
Robert Morris |
| Titus |
Jason |
2010 |
Miles Davis’ “So What” as Modal Jazz Case Study |
Robert Wason/Matthew Brown |
| Koslovsky |
John |
2009 |
Felix Salzer and the Transmission of Schenkerian Thought in the United States |
Matthew Brown – Robert Wason |
| Miller |
Paul |
2009 |
Stockhausen and the Serial Shaping of Space |
Dave Headlam |
| Sommerville |
David |
2009 |
Consistency, context, and symmetry in Alberto Ginastera’s String quartets nos. 1 (1948) and 2 (1958, first version) |
Dave Headlam |
| Stephan-Robinson |
Anna |
2009 |
Form in Paul Simon’s Music |
John Covach |
| 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 |
| Bartlette |
Christopher |
2007 |
A Study of Harmonic Distance and Its Role in Musical Performance |
David Temperley |
| Franck |
Peter |
2007 |
The Role of Invertible Counterpoint within Schenkerian Theory |
Matthew Brown |
| Jenkins |
John Daniel |
2007 |
Issues of Form in Schoenberg’s Atonal Period Vocal Music: Three Case Studies |
Dave Headlam |
| Patty |
Austin |
2006 |
A Theory of Pacing Scenarios with Application to the Violin Sonatas of Brahms |
Dave Headlam |
| Randall |
Richard |
2006 |
A General Theory of Comparative Music Analysis |
Robert Morris |
| Silberman |
Peter |
2006 |
Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal Music |
Daniel Harrison – Norm Carey |
| Auerbach |
Brent |
2005 |
The Analytical Grundgestalt: A New Model and Methodology Based on the Music of Johannes Brahms |
Steve Laitz |
| 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 |
| Ng |
Yuet-Hon Sam |
2005 |
A Grundgestalt Interpretation of Metric Dissonance in the Music of Johannes Brahms |
Dave Headlam |
| Chuck |
Gavin |
2004 |
Toward a Cognitive Theory of Musical Meaning |
Robert Wason |
| Mak |
Susanna Yin |
2004 |
Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert |
Gretchen Wheelock – David Beach |
| Murphy |
Scott |
2004 |
Relations Among Boundaries, Expectations, and Closure in Tonal and Post-Tonal Music |
Daniel Harrison |
| Quinn |
Ian |
2004 |
A Unified Theory of Chord Quality in Equal Temperaments |
Robert Morris |
| Ricci |
Adam |
2004 |
The Nineteenth-Century Sequence as Transformation of Eighteenth-Century Models |
Daniel Harrison |
| Terefenko |
Dariusz |
2004 |
Keith Jarrett’s Transformation of Standard Tunes |
Robert Wason – Matthew Brown |
| Au |
Aiu-Wah |
2003 |
Diminution: Schenkerian Theory,and Variation Form: Three Case Studies |
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 |
| Crumbley |
Stefanie |
2002 |
Tonal Voice Leading as an Analytic Basis for Liszt’s Late Experimental Music |
Matthew Brown |
| Jones |
Evan |
2002 |
Pervasive Fluency: A Contrapuntal Definition of Stability and Transience in Tonal Music |
Norman Carey |
| Marvin |
William |
2002 |
Tonality in Selected Set-pieces from Richard Wagner’s Die Meistersinger Von Nurnberg: A Schenkerian Approach |
Matthew Brown |
| Neal |
Jocelyn |
2002 |
Song Structure Determinants: Poetic Narrative, Phrase Structure, and Hypermeter in the Music of Jimmie Rodgers |
Dave Headlam |
| Spiegelberg |
Scott Charles |
2002 |
The Psychoacoustics of Musical Articulation |
Dave Headlam – Betsy Marvin |
| Taavola |
Kristin |
2002 |
Cyclic shape theory: an approach to modeling modal processes in pieces from Balinese gamelan and Bartok |
Dave Headlam |
| Traut |
Donald |
2002 |
Displacement and Its Role in Schenkerian Theory |
Matthew Brown |
| Bribitzer-Stull |
Matthew |
2001 |
Thematic Development and Dramatic Association in Wagners Der Ring Des Nibelungen |
Matthew Brown |
| Leong |
Daphne |
2001 |
A Theory of Time-Spaces for the Analysis of Twentieth-Century Music: Applications to the Music of Bela Bartók |
Robert Morris |
| Painter |
Noel |
2000 |
Exploring Contour Associations Through Transformation Networks: Identification and Classification of Contour Relations in Modern Multiple Percussion Music |
Elizabeth Marvin |
| 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 |
| Capuzzo |
Guy |
1999 |
Variety Within Unity: Expressive Ends and Their Technical Means in the Music of Elliott Carter 1983-1994 |
Robert Morris |
| Buchler |
Michael |
1998 |
Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity |
Robert Morris |
| Carey |
Norman |
1998 |
Distribution Modulo 1 and Musical Scales |
Robert Morris |
| Jurkowski |
Edward |
1998 |
A Theory of Harmonic Structure and Voice-Leading for Atonal Music |
Dave Headlam |
| Palmer |
David |
1998 |
Polar Processes in Stravinsky’s Neoclassical Music |
Daniel Harrison |
| 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 |
| Rohr |
Deborah |
1997 |
Brahm’s Metrical Dramas: Rhythm, Text Expression, and Form in the Solo Leider |
Robert Wason |
| Waters |
Keith |
1997 |
Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger |
Robert Wason |
| Hanninen |
Dora |
1996 |
A General Theory for Context-Sensitive Music Analysis: Applications to Four Works for Piano by Contemporary American Composers |
Robert Morris |
| Krumholz |
Jay |
1995 |
Friedrich Wilhelm Marpurg’s Abhandlung von der Fuge |
David Beach |
| Sly |
Gordon |
1995 |
An Emerging Symbiosis of Structure and Design in the Sonata Practice of Franz Schubert |
David Beach |
| Hermann |
Richard |
1994 |
A General Measurement for Similarity Relations a Heuristic for Constructing or Evaluating Aspects of Possible Musical Grammars |
Robert Morris |
| Uno |
Yayoi |
1994 |
Avant-garde Music circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and Xenakis |
Robert Morris |
| Clevenger |
John |
1993 |
The Origins of Debussy’s Style |
Aleck Brinkman |
| Alegant |
Brian |
1992 |
The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical Implications |
Robert Morris |
| Laitz |
Steve |
1992 |
Pitch-Class Motive in the Songs of Franz Schubert: The Submediant Complex |
Robert Wason |
| Trucks |
Louise |
1992 |
The Metric Complex in Johannes Brahms’s Klavierstücke, Op. 76 |
David Beach |
| Kaminsky |
Peter |
1990 |
Aspects of Harmony, Rhythm and Form in Schumann’s Papillons, Carnaval and Davidsbündlertänze |
David Beach |
| Peters |
Penelope |
1990 |
French Harmonic Theory in the Conservatoire Tradition: Fétis, Reber, Durand, and Gevaert |
Robert Wason |
| Marvin |
Elizabeth West |
1989 |
Cognitive Structures and Strategies for the Understanding of Non-Tonal Music: Their Analytical and Pedagogical Implications |
Robert Morris |
| Heath |
Mary Jo |
1988 |
A Comparative Analysis of Dukas’s Arian Et Barbe-Bleu and Bartók’s Duke Bluebeards Castle |
Marie Rolf |
| Adrian |
John |
1987 |
Development Sections That Begin with the Tonic |
David Beach |
| Cohn |
Richard |
1987 |
Transpositional Combination in 20th-Century Music |
Robert Morris |
| Kraus |
Joseph |
1987 |
Contexts for Chromatic Third Relations in the Late String Quartets and Quintets of Wolfgang Amadeus Mozart |
David Beach |
| Lambert |
Jay Philip |
1987 |
Compositional Procedures in Experimental Works of Charles E. Ives |
Robert Gauldin |
| Wise |
Herbert |
1987 |
The Relationship of Pitch-Sets to Formal Structure in the Last Six Piano Sonatas of Scriabin |
David Beach |
| Crotty |
John |
1986 |
Design and Harmonic Organization in Beethoven’s String Quartet, Op. 131 |
David Beach |
| Richards |
James |
1986 |
Pitch Structure in the Opera Don Rodrigo of Alberto Ginastera |
David Beach |
| 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 |
| Nelson |
Richard |
1984 |
Theories of Harmonic Modulation in Selected German Treatises of the 18th-Century |
David Beach |
| Cadwallader |
Allen |
1983 |
Multi-leveled Motivic Repetition in Selected Intermezzi for Piano of Johannes Brahms |
David Beach |
| Lewis |
Christopher |
1983 |
Tonality and Structure in the Ninth Symphony of Gustav Mahler |
David Beach |
| Poulin |
Pamela |
1983 |
Three Stylistic Traits in Poulenc’s Chamber Works for Wind Instruments |
Robert Gauldin |
| Reed-Knouse |
Nola |
1983 |
The Theories of Joseph Riepel as Expressed in His Ansangsgrunde zur Musicalischen Setzkunst (1752-1768) |
David Beach |
