| Author |
Title |
Institution |
Completed |
Adams, Kyle
| A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century | CUNY Graduate Center | September 2006 | Adlington, Robert C.
| Temporality in post-tonal music | University of Sussex | September 1996 | Alegant, Brian
| The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical Implications | Eastman School of Music | October 1992 | Amos, Laura Christine
| An Examination of 1920s Parisian Polytonality: Milhaud's Ballet La Creation du monde | The University of Texas at Austin | May 2007 | Anson-Cartwright, Mark
| The Development Section in Haydn's Late Instrumental Works | City University of New York | August 1998 | Antonio Jardim
| Music: vigency of poetical thinking | UFRJ Doctor in Poetics | December 1997 | Arndt, Matthew
| Schenker and Schoenberg on the Tone and the Genius | University of Wisconsin–Madison | August 2008 | Atkinson, Sean E
| An Analytical Model for the Study of Multimedia Compositions: A Case Study in Minimalist Music | Florida State University | April 2009 | Attar, Ron
| Analysis of Bela Bartok's Performances to Selected Compositions | Bar-Ilan University, Israel | June 2007 | Auerbach, Brent, L
| The Analytical Grundgestalt: A New Model and Methodology Based on the Music of Johannes Brahms | University of Rochester - Eastman School of Music | May 2005 | Auerbach, Jennifer Sadoff
| Drafts, Page Proofs, and Revisions of Heinrich Schenker’s Der freie Satz: the Collection at the Austrian National Library and Schenker’s Generative Process | University of North Texas | May 2009 | Ayotte, Benjamin McKay
| Incomplete Ursatzformen Transferences in the Vocal Music of Heinrich Schenker | Michigan State University | May 2008 | BaileyShea, Matthew L.
| The Wagnerian Satz: The Rhetoric of the Sentence in Wagner's Post-Lohengrin Operas | Yale University | May 2003 | Ballard, Jack D., Jr.
| Part One: The Castle (Ballet for Large Orchestra) and Part Two: Hyperextended Chord Tones: Chromatic Consonance in a Tertian Context | Kent State University | December 2008 | Barker, Naomi Joy
| Analytical Issues in the Toccatas of Girolamo Frescobaldi | University of London | July 1995 | Bauer, Amy, M
| Compositional Process and Parody in the Music of Gyorgy Ligeti | Yale University | August 1996 | Beaudoin, Paul E
| Rhetoric as a Heuristic in the First Movement of Beethoven's Third Sonata for Violoncello and Piano, op. 69 | Brandeis University | February 2002 | Bell, Vicki P.
| Shaker Music Theory: The Nineteenth-Century Treatises of Isaac Newton Youngs and Russel Haskell | University of Kentucky | May 1998 | Benoit, John R.
| An Alternative Model of Fundamental Structure in Selected Lieder by Franz Schubert | The University of Texas at Austin | August 1994 | Berry, David Carson
| Stravinsky's "Skeletons": Reconnoitering the Evolutionary Paths from Variation Sets to Serialism | Yale University | March 2002 | Bhogal, Gurminder
| Maurice Ravel, Metric Dissonance, Art Nouveau, Ornament, French Aesthetics, Symbolism, Arabesque | University of Chicago | August 2004 | Biamonte, Nicole V
| The Modes in Romantic Music | Yale University | March 1998 | Blom-Smith, Richard N. W.
| A Theory of Accent in Tonal Music with an Assessment of Selected Modern Accentologies | King's College London, University of London | April 1994 | Boland, Marguerite M
| The All-Trichord Hexachord: Compositional Strategies in Elliott Carter's "Con Leggerezza" and "Gra". | La Trobe University, Melbourne, Australia | December 1999 | Bor, Mustafa
| Contour Reduction Algorithms: A Theory of Pitch and Duration Hierarchies for Post-Tonal Music | University of British Columbia | April 2009 | Botelho, Mauro
| Rhythm, Meter, and Phrase: Temporal Structures in Johann Sebastian Bach's Concertos | University of Michigan | March 1993 | Boyd, James W.
| Mahler and Directional Tonality | University of Michigan | September 1993 | Brasky, Jill Tovah
| 'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg's Gurrelieder | University of Buffalo | May 2005 | Brass, Christophe
| La basse fondamentale dans le Clavier bien tempéré de J. S. Bach | Université Strasbourg II (= Université Marc Bloch) | September 2001 | Bribitzer-Stull, Matthew, P.
| Thematic Development and Dramatic Association in Wagner's Der Ring des Nibelungen | Eastman School of Music | July 2001 | Brover-Lubovsky, Bella
| Vivaldi's Harmony: Practice and Theory | Hebrew University of Jerusalem, Israel | October 2000 | Brown, Stephen C.
| Dual Interval Space in Twentieth-Century Music | Yale University | May 1999 | Bruno, Luca
| Theory and Analysis of Harmony in Adrian Willaert's Canzone villanesche alla napolitana (1542-1545) | University of Trento, Italy | January 2009 | Bryden, Kristy A.
| Musical Conclusions: Exploring Closural Processes in Five Late Twentieth-Century Chamber Works | University of Wisconsin-Madison | May 2001 | Buchler, Michael H.
| Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity | Eastman School of Music | October 1997 | Buehrer, Theodore E.
| An Alternative Pedagogical Paradigm for Aural Skills: An Examination of Constructivist Learning Theory and its Potential for Implementation into Aural Skills Curricula | Indiana University | December 1998 | Buhler, James
| Informal Music Analysis: A Critique of Formalism, Semiology, and Narratology As Discourses on Music | University of Pennsylvania | May 1996 | Burkett, Lyn Ellen Thornblad
| Tensile Involvement: Counterpoint and Compositional Pedagogy in the Work of Seeger, Hindemith, and Krenek | Indiana University | April 2001 | Burns, Kristine H.
| The History and Development of Algorithms in Music Composition, 1957-93 | Ball State University | April 1994 | Burton, Deborah, E.
| An Analysis of Puccini's Tosca: a heuristic approach to the unifying elements of the opera | University of Michigan | May 1995 | Butterfield, Matthew W.
| Jazz Analysis and the Production of Musical Community: A Situational Perspective | University of Pennsylvania | May 2000 | Byron, Avior
| Schoenberg as Performer: An Aesthetics in Practice | Royal Holloway, University of London | June 2007 | Cahn, Steven J.
| Variations in Manifold Time: Historical Consciousness in the Music and Writings of Arnold Schoenberg | SUNY at Stony Brook | August 1996 | Campbell, Edward
| Boulez and Expression: A Deleuzoguattarian Approach | University of Edinburgh | June 2000 | Capuzzo, Guy
| Variety Within Unity: Expressive Ends and their Technical Means in the Music of Elliott Carter, 1983-1994 | Eastman School of Music, University of Rochester | December 1999 | Carey, Norman, A
| Distribution Modulo 1 and Musical Scales | University of Rochester | February 1998 | Carter, Chandler
| The Progress in "The Rake's" Return | The City University of New York | January 1995 | Castine, Peter
| Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music | Technische Universitaet Berlin | January 1994 | Castren, Marcus
| RECREL: A Similarity Measure for Set-Classes | Sibelius Academy | December 1994 | Cavanagh, Lynn, M.
| Tonal Multiplicity in Schoenberg's First String Quartet, Op. 7 | The University of British Columbia | June 1996 | Chang, Sangtae
| Boulez's Sonatine and the Genesis of his Twelve-tone Practice | The University of North Texas | March 1998 | Chong, Eddy K. M.
| Extending Schenker’s Neue musikalische Theorien und Phantasien: Towards a Schenkerian | University of Rochester, Eastman School of Music | May 2002 | Clement, Brett
| A Study of the Instrumental Music of Frank Zappa | University of Cincinnati | July 2009 | Clevenger, John R.
| The Origins of Debussy's Style | University of Rochester | March 1993 | Coenen, Alcedo, E.
| Meta-Plus: Stockhausen's Plus-Minus computerized and analyzed | University of Amsterdam | November 1995 | Collaros, Pandel, L.
| Quanti-MAS: A Quantitative System of Melodic Analysis | Ohio State University | December 1996 | Cornicello, Anthony M.
| Timbral Organization in Tristan Murail's "Désintégrations" and "Rituals" | Brandeis University | May 2000 | Cotner, John S.
| Archetypes of Progressive Rock, ca. 1966-1973 | University of Wisconsin-Madison | December 1999 | Cox, Arnie W.
| The Metaphoric Logic of Musical Motion and Space | University of Oregon | June 1999 | Cramer, Alfred W.
| Music for the Future: Sounds of Early Twentieth-Century Psychology and Language in Works of Schoenberg, Webern, and Berg, 1908 to the First World War | University of Pennsylvania | April 1997 | Crownfield, Elizabeth E.
| The Intellectual Backgrounds of Morley's Plaine and Easie Introduction | New York University | January 2000 | Cuciurean, John D.
| A Theory of Pitch, Rhythm, and Intertextual Allusion for the Late Music of György Ligeti | State University of New York at Buffalo | August 2000 | Cutler, Timothy S.
| Orchestration and the Analysis of Tonal Music: Interaction between Orchestration and Other Musical Parameters in Selected Symphonic Compositions, c. 1785-1835 | Yale University | March 2000 | Danby, Judd
| Array and Superarray Structure and Projection in Milton Babbitt's recent Orchestral Music | University of Illinois at Urbana-Champaign | November 1997 | Decker, Bradley D
| Preserving the Fragment: Techniques and Traits of Franco Donatoni's Joyous Period (1977 to 2000) | University of Illinois at Urbana - Champaign | January 2006 | Deguchi, Tomoko
| Forms of Temporal Experience in the Music of Toru Takemitsu | University at Buffalo, SUNY | November 2005 | Demske, Thomas R.
| Recognizing Melodic Motion in Musical Scores: Rules and Contexts | Yale University | March 1993 | Derfler, Brandon
| Single-Voice Transformations: A Model for Parsimonious Voice Leading | University of Washington | November 2007 | Derkert, Jacob
| Tonalitet och harmonisk artikulation i Claude Debussys verk. Om reception, armonikteori och analys | University of Stockholm | October 1998 | Djordjevic, Michael, L.
| Discrete Tone Relations Determined by the Hearing Phenomenon within Five-Dimensional Sound-Musical Continuum | Radio Belgrade, Hilandarska 2, 11000 Belgrade, Serbia, YU | June 1995 | Dodds, Michael R.
| The Baroque Church Tones in Theory and Practice | University of Rochester | January 1999 | Doerksen, John F.
| A Theory of Set-class Salience for Post-tonal Music, with Analyses of Selected Lieder by Anton Webern | University of Western Ontario | June 1994 | Dogantan, Mine
| Mathis Lussy's Theory of Rhythm as a Basis for a Theory of Expressive Performance | Columbia University, New York | May 1997 | Dolenko, Elena
| Schoenberg. The Early Years. [Molodoy Schoenberg] | Moscow State Tchaikovsky Conservatory | May 2003 | Doll, Christopher
| Listening to Rock Harmony | Columbia University | May 2007 | Douw, Andre, M.
| The Construction of Order and Direction in Igor Stravinsky's In Memoriam Dylan Thomas, Canticum Sacrum, and Threni | Utrecht University | March 1995 | Dudeque, Norton E.
| Music Theory and Analysis in the Writings of Arnold Schoenberg (1874-1951) | University of Reading | April 2002 | Dudeque, Norton E.
| Tonal Harmony and the Concept of Monotonality in the Writings of Arnold Schoenberg | Universidade de Sao Paulo | June 1997 | Edith, Zack
| Carmen and Turandot: femme fatale to femme creatrice in opera | Bar-Ilan University, Israel | June 2000 | Endrinal, Christopher James Scott
| Form and Style in the Music of U2 | Florida State University | April 2008 | Essl, Karlheinz
| Das Synthese-Denken bei Anton Webern. Studien zur Musikauffassung des spaeten Webern unter besonderen Beruecksichtigung seiner eigenen Analysen zu op. 28 und op. 30. ("Anton Webern's idea of synthesis". Studies on the musical thinking of the late Webern c | University of Vienna | May 1989 | Fancher, Joseph E.
| Pitch Organization in the Turangalîla-Symphonie of Olivier Messiaen | University of Oregon | March 2003 | Fiore, Carlo
| I mottetti di Josquin Desprez: interpretazione attraverso l'analisi | University of Bologna, Dipartimento di Musica e Spettacolo | April 1998 | Foley, Gretchen
| Pitch and Interval Structures in George Perle's Theory of Twelve-Tone Tonality | University of Western Ontario | January 1999 | Follet, Diane W.
| Echo - A Chamber Opera in One Act: The Woman's Voice in the Twentieth Century | University of Northern Colorado | August 2000 | Forrest, David L.
| Prolongation in the Choral Music of Benjamin Britten | Texas Tech University | May 2009 | Foulkes-Levy, Laurdella
| A Synthesis of Recent Theories of Tonal Melody, Contour, and the Diatonic Scale: Implications for Aural Perception and Cognition | SUNY Buffalo | September 1996 | Fung, Eric W.M.
| The Performance of Chopin's First Movement of Piano Sonata in B Minor, op. 58: A Schenkerian Approach | The Chinese University of Hong Kong | June 1995 | Gadd, Robin N.
| Theorizing Musical Style | University of Southampton | July 1997 | Gersh, Jason A
| Text-Setting in William Byrd's Liber primus sacrarum cantionum quinque vocum (1589): Toward an Analytic Methodology | University of North Carolina at Chapel Hill | December 2006 | Giovinazzo, Joseph
| Timbral Design of Primary Melody in the First Movement of Bartok's Concerto for Orchestra | La Trobe University | June 1992 | Gloag, Kenneth
| Structure, Syntax and Style in the Music of Stravinsky | University of Exeter | February 1995 | Goldenberg, Yosef
| Prolongation of Seventh Chords in Tonal Music | Hebrew University, Jerusalem | December 2001 | Gollin, Edward H.
| Representations of Space and Conceptions of Distance in Transformational Music Theories | Harvard University | June 2000 | Gonzales, Cynthia I.
| Text-Music Relationships in the Early Songs of Arnold Schoenberg | Harvard University | October 2005 | Gonzales-Lizausaba, Oswaldo
| A Formalized Analysis of Luciano Berio's Erdenklavier for Piano Solo: An Undulatory Approach | Ecole des Hautes Etudes en Sciences Sociales, IRCAM, CNRS (Paris) | June 1997 | Gosman, Alan R.
| Compositional Approaches to Canons from Ockeghem to Brahms | Harvard University | August 2000 | Grall, Jeremy N.
| An Analytical Edition of Giovanni Kapsberger's "Partite sulla folia" for Chitarrone: Ornamentation, Performance Practices, and Compositional Structures in Kapsberger's Folia Variations | University of Memphis | April 2009 | Greitzer, Mary L
| Tormented Voices | Harvard University | August 2007 | Grossman, E. Lary
| Fugal Procedures in the Symphonies of Joseph Haydn | Northwestern University | December 1993 | Grove, Paul R.
| Doctrine of the Canon: An Annotated Translation of the Second Counterpoint Book of Sergei Ivanovich Taneev | University of Arizona | January 1996 | Guigue, Didier
| Une Étude "pour les Sonorités Opposées": Pour une analyse "orientée objets" de l'oeuvre pour piano de Debussy et de la musique du 20è siècle | Ecole des Hautes Etudes en Sciences Sociales, Paris | April 1996 | Hafner, Everett
| Time Divided | University of Massachusetts at Amherst | August 1995 | Hansen, Thomas Holme
| From Mode to Key. An Investigation of European Modal/Tonal Theories in the Seventeenth Century [in Danish] | University of Aarhus (Denmark) | June 1996 | Hare, Belva Jean
| The Uses and Aesthetics of Musical Borrowing in Erik Satie’s Humoristic Piano Suites, 1913-1917 | University of Texas at Austin | December 2005 | Harley, Maria, A.
| Space and spatialization in contemporary music: History and analysis, ideas and implementations | McGill University | June 1994 | Harper, Steven A.
| Minimal Interval Content Descriptions | University of Texas at Austin | May 1994 | Harris, Joseph H.
| Harmony in Olivier Messiaen's Eclairs sur l'Au-Dela | University of Iowa | September 2000 | Hastings, Charise Y.
| The Performer's Role: Storytelling in Ballades of Chopin and Brahms | University of Michigan--Ann Arbor | April 2006 | Herlin, Thomas R.
| Carl Ruggles and the Viennese Tradition: A Comparative Analysis | University of Illinois at Urbana-Champaign | April 2000 | Hibberd, Kristian P. G.
| Shostakovich and Bakhtin: A Critical Investigation of the Late Works (1974-1975) | Goldsmiths College, University of London | June 2005 | Hill, David S.
| The Persistence of Memory: Mode, Trope, and Difference in the Passion Chorale | SUNY at Stony Brook | April 1994 | Hoag, Melissa E.
| Multiply-Directed Moments in the Music of Brahms | Indiana University | May 2008 | Hodson, Robert D.
| Interaction and Improvisation: Group Interplay in Jazz Performance | University of Wisconsin--Madison | August 2000 | Hoffman, Stanley M.
| Extended Tonality and Voice Leading in Twelve Songs, Op. 27 by Alexander Zemlinsky | Brandeis University | February 1993 | Hoffmann, Peter
| Music Out of Nothing? The Dynamic Stochastic Synthesis: a Rigorous Approach to Algorithmic Composition by Iannis Xenakis | Technische Universitaet Berlin | January 1998 | Hoffmann, Peter
| Music Out of Nothing? A Rigorous Approach to Algorithmic Composition by Iannis Xenakis | Technische Universität Berlin | December 2009 | Hook, Julian L.
| Uniform Triadic Transformations | Indiana University | May 2002 | Hussey, William Gregory
| Compositional Modeling and Quotation in the Works of Johannes Brahms: An Application of Harold Bloom's Theory of Influence to Music | University of Texas at Austin | December 1996 | Igoudin, Lane
| Impact of MIDI on Electroacoustic Art Music | Stanford University | June 1997 | Iverson, Jennifer
| Historical Memory and György Ligeti's Sound-Mass Music, 1958-1968 | University of Texas at Austin | May 2009 | Jacobus-Freund, Suzanne A.
| The Art of Development: Development and the Development section Seen Through the Eyes of Theorists, ca. 1775-1830 | Yale University | May 1998 | Jardim, Antonio
| Music: another density of real - to a philosophy of a substantive language | Conservatorio Brasileiro de Musica | March 1988 | Johnson, Barrett A
| An Original Composition, Galleria Armonica, Theme and Variations for Piano, Harpsichord, Harp and Orchestra and A Comparative Study Between the Pedagogical Methodologies of Arnold Schoenberg and Nadia Boulanger Regarding Training the Composer | Louisiana State University | November 2007 | Johnson, Russell W.
| Essais sur les Principes de l'Harmonie by Jean-Adam Serre: An Annotated Translation | Florida State University | November 1994 | Johnson, Shersten R.
| Hearing the Unvoiceable: Writer's Block in Benjamin Britten's Death in Venice | University of Wisconsin--Madison | August 2002 | Joichi, Janet M.
| Closure, Context, and Hierarchical Grouping in Music: A Theoretical and Empirical Investigation | Northwestern University | June 2006 | Jones, Jr. Melvin E
| Key Classes and Textural Dissonance: An Instrument-Specific Study of the Idioms, Textures, and Structures of Selected Early Romantic Music for the Guitar (1799-1850) | Indiana University | August 2004 | Judd, Cristle Collins
| Aspects of Tonal Coherence in the Motets of Josquin | King's College, University of London | January 1993 | Julien, Patricia A.
| The Structural Function of Harmonic Relations in Wayne Shorter's Early Compositions: 1959-1963 | University of Maryland | May 2003 | Kaastra, Linda T.
| Systematic Approaches to the Study of Cognition in Western Art Music Performance | University of British Columbia | May 2008 | Karamahmutoglu, Gulay
| Nr:1637 Hamparsum Notation Manuscripts at Istanbul Ataturk Library | ITU Institute of Social Science | December 1999 | Kelley, Robert T.
| Modulo-Seven Transformations in Post-Functional Music | Florida State University | April 2005 | Khannanov, Ildar
| Russian Methodology of Music Theory and Analysis | University of California, Santa Barbara | December 2003 | Kievman, Carson
| Ockeghem and Ligeti: The Music of Transcendence | Princeton University | June 2003 | Kim, Jung-Jin
| A Barthesian Analysis of Britten's The Holy Sonnets of John Donne, Op. 35 | University of Wisconsin-Madison | December 1996 | Kinton, Leslie
| A Documentary Study and Schenkerian Analysis of Dvořák’s Symphony in D minor, op. 70 | University of Toronto | November 2008 | Kizas, Andrew J.
| From Octatonicism to Dodecaphony: A Study of Pitch Organization in Selected Works by Donald Martino | University of Western Ontario | December 2004 | Klein, Michael
| A Theoretical Study of the Late Music of Witold Lutoslawski: New Interactions of Pitch, Rhythm, and Form | SUNY Buffalo | May 1995 | Kleppinger, Stanley V
| Tonal Coherence in Copland's Music of the 1940s | Indiana University | May 2006 | Kochavi, Jonathan, H.
| Contextually Defined Musical Transformations | SUNY Buffalo | April 2002 | Konov Yavor S.
| The first treatise of harpsichord "Les Principes du Clavecin" by Saint Lambert (Paris, M. DCCII) | State Academy of Music | September 1997 | Konstantinou, Elena
| Nikos Skalkottas: The Piano Music | University of Reading, Reading, U.K. | October 2001 | Korstvedt, Benjamin Marcus
| The First Edition of Anton Bruckner's Fourth Symphony: Authorship, Production and Reception | University of Pennsylvania | May 1995 | Kosovsky, Robert
| Bernard Herrmann's Radio Music for the Columbia Workshop | Graduate Center, the City University of New York | September 2000 | Krumbholz, Jay
| Friedrich Wilhelm Marpurg's Abhandlung von der Fuge | University of Rochester | August 1994 | Kurth, Richard B.
| Mosaic Isomorphism and Mosaic Polyphony: Balance and Imbalance in Schoenberg's Twelve-tone Rhetoric | Harvard University | April 1993 | Kuusi, Tuire
| Set-Class and Chord: Examining Connection between Theoretical Resemblance and Perceived Closeness | Sibelius Academy | November 2001 | Kwan, Kenneth
| Compositional Design in Recent Works of Chou Wen Chung | SUNY Buffalo | September 1995 | Lai, Eric C.
| A Theory of Pitch Organization in the Early Music of Chou Wen-chung | Indiana University | May 1994 | Laine, Pauli A.
| A Method for Musical Motion Patterns | University of Helsinki | April 2000 | Lapidaki, Eleni
| Consistency of Tempo Judgments as a Measure of Time Experience in Music Listening | Northwestern University, School of Music | June 1996 | Laurson, Mikael
| "PATCHWORK: A Visual Programming Language and some Musical Applications" | Sibelius Academy | April 1996 | Leinberger, Charles, F.
| "An Austrian in Hollywood: Leitmotifs and Thematic Transformation in Max Steiner's Film Score 'Now, Voyager'" | University of Arizona | May 1996 | Lemieux, Glenn C.
| "Music in Twelve Parts" by Philip Glass: Reconstruction, Construction and Deconstruction | University of Iowa | June 1999 | Leong, Daphne
| A Theory of Time-Spaces for the Analysis of Twentieth-Century Music: Applications to the Music of Bela Bartok | Eastman School of Music | April 1999 | Lerch, Alexander
| Software-Based Extraction of Objective Parameters from Music Performances | Technical University Berlin | November 2008 | Letts, Marianne Tatom
| "How to Disappear Completely": Radiohead and the Resistant Concept Album | University of Texas at Austin | December 2005 | Leydon, Rebecca V.
| Narrative Strategies and Debussy's Late Style | McGill University | December 1996 | Lima, Paulo C.
| Surface and Structure in the Music of Ernst Widmer: Octatonic Compositional Strategies | Universidade de São Paulo (USP - Brasil) | October 2000 | Lind, Stephanie K
| Replicative Network Structures: Theoretical Definitions and Analytical Applications | University of British Columbia | January 2009 | Link, John, F.
| Long-Range Polyrhythms in Elliott Carter's Recent Music | City University of New York | January 1994 | Linklater, Mary L.
| From Procedure to Technique: Canonic Works of the Fifteenth Century | University of Rochester | May 2001 | Lippus, Urve
| Linear Musical Thinking | University of Helsinki | April 1995 | Lipscomb, Scott D.
| Cognition of musical and visual accent structure alignment in film and animation | University of California, Los Angeles | March 1995 | Longo, Lauren, M.
| Pietro Gianotti's Le Guide du compositeur: A Reworking of Rameau's "L'Art de la basse fondamentale"--An Annotated Translation and Critical Edition of Part I | City University of New York | July 1997 | Lopes, Eduardo
| Just In Time: towards a theory of rhythm and metre | University of Southampton | March 2003 | Lorenz, Ralph
| Pedagogical Implications of musica practica in Sixteenth-Century Wittenberg | Indiana University | March 1994 | Lowe, Bethany L.
| Performance, Analysis, and Interpretation in Sibelius's Fifth Symphony | University of Southampton | November 2000 | Luchese, Diane
| Olivier Messiaen's Slow Music: Glimpses of Eternity in Time | Northwestern University | May 1998 | MacKay, James S.
| Motivic Structure and Tonal Organization in Selected Motets of William Byrd | McGill University | August 1999 | Mak, Su Yin
| Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert | Eastman School of Music | January 2009 | Mak, Su Yin.
| Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert | Eastman School of Music | December 1997 | Malawey, Victoria L.
| Temporal Process, Repetition, and Voice in Björk's Medúlla | Indiana University Bloomington | December 2007 | Manning, David J.
| Harmony, Tonality and Structure in Vaughan Williams's Music | Cardiff University | December 2003 | Martens, Peter A.
| Beat-Finding, Listener Strategies, and Musical Meter | University of Chicago | June 2005 | Martins, José Oliveira
| Dasian, Guidonian, and other Affinity Spaces in Twentieth-Century Music | University of Chicago | March 2006 | Maxile Jr., Horace J.
| Say What?: Topics, Signs, and Signification in African American Music | Louisiana State University | October 2001 | McCallum, Peter, H.J.
| The Analytical Significance of Beethoven's Sketches for the String Quartet in F major, opus 135 | University of Sydney | March 1995 | McClatchie, Stephen
| Alfred Lorenz as Theorist and Analyst | The University of Western Ontario | April 1994 | McDonnell, Donald R.
| Roger Sessions' Symphony No. 3, First Movement: Form, Hexachordal Polarity, and Harmonic Language (and) Nexus/Dreamscape for Chamber Ensemble. (Original Composition) | Brandeis University | February 1994 | McGinness, John, R.
| "Playing with Debussy's Jeux: Music and Modernism" | University of California, Santa Barbara | September 1996 | McGowan, James J
| Dynamic Consonance in Selected Piano Performances of Tonal Jazz | University of Rochester | February 2005 | McKee, Eric, J.
| The Interaction of Tonal Structure and Phrase Structure as an Aspect of Form in Tonal Music | University of Michigan | April 1994 | Mengozzi, Stefano
| Between Humanistic Ideals and Scientific Thought in Glareanus's Dodecachordon
| University of Chicago | March 1997 | Mooney, Kevin
| The Table of Relations and Music Psychology in Hugo Riemann's Harmonic Theory | Columbia University | December 1995 | Moreno, Enrique I.
| Embedding Equal Pitch Spaces and The Question Of Expanded | Stanford University | December 1995 | Morse, Michael William
| The Tune in Jazz as a Social Process--Prolegomena to a Sociology of Music | York University | April 1996 | Mullin, Carolyn D.
| Global Coherence in Selected Atonal Works of Anton Webern | University of Oregon | June 2005 | Murphy, Paul T.
| The Thoroughbass Theory of Jose de Torres y Martinez Bravo with an Annotated Translation of Reglas Generales (1736) | The University of Texas at Austin | May 1995 | Nelson, Mark, D
| Quieting the Mind, Manifesting Mind: The Zen Buddhist Roots of John Cage's Early Chance-Determined and Indeterminate Compositions | Princeton University | February 1995 | Nelson, Thomas K.
| The Fantasy of Absolute Music | University of Minnesota | June 1998 | Ng, Samuel
| A Grundgestalt Interpretation of Metric Dissonance in the Music of Johannes Brahms | Eastman School of Music, University of Rochester | July 2005 | Nicholson, G. Gordon
| The Experience of Successful Contemporary Classical Musical Composition for Non-Computer-Assisted Performance: A Qualitative Study | Saybrook Institute, San Francisco, CA | November 1997 | Nivans, David B.
| Brahms and the Binary Sonata: A Structuralist Interpretation | University of California, Los Angeles | January 1992 | Noll, Thomas
| Morphologische Grundlagen der abendlaendischen Harmonik (Morphological Foundations of Occidental Harmony) | Technical University of Berlin | July 1995 | Novak, John, K.
| The Programmatic Orchestral Works of Leos Janacek: Their Style And Their Musical and Extramusical Content | The University of Texas at Austin | May 1994 | O Maidin, Donncha Sean
| A Programmer's Environment for Music Analysis | National University of Ireland at University College Cork | October 1995 | O'Donnell, Shaugn J.
| Transformational Voice Leading in Atonal Music | City University of New York | March 1997 | Pacun, David E.
| Large-scale Form in Selected Variation Sets of Johannes Brahms | University of Chicago | December 1998 | Paget, Laurie
| The Madrigals of Marc'Antonio Ingegneri | University of London | June 1995 | Paley, Elizabeth S.
| Narratives of 'Incidental' Music in German Romantic Theater | University of Wisconsin-Madison | July 1998 | Palombini, C. V.
| Pierre Schaeffer's Typo-Morphology of Sonic Objects | University of Durham | September 1992 | Perlman, Marc A.
| Unplayed Melodies: Music Theory in Postcolonial Java | Wesleyan University | August 1993 | Petrocelli, Paolo
| William Walton and the Violin Concerto in England between the 1900 and 1940 | University of Rome | December 2007 | Polyvios, Androutsos
| Development and Experimental Implementation of a Model of Teaching the History of Music in Secondary Education | Aristotle University of Thessaloniki | December 2002 | Post, William D.
| Part One: Emanations for Orchestra (original composition); Part Two: Anton Webern and the Golden Ratio: Temporal Proportions as a Formative Principle in Three Late Works, Opp. 27-29. | Kent State University | May 2007 | Poudrier, Ève
| Toward a general theory of polymeter: Polymetric potential and realization in Elliott Carter's solo and chamber instrumental works after 1980 | City University of New York | September 2008 | Power, Richard S.
| An Analysis of Transformation Procedures in Gyorgy Ligeti's String Quartet No. 2 | University of Illinois at Urbana-Champaign | July 1995 | Powles, Jonathan C.
| Continuity and Discontinuity in the Music of Stravinsky: Analysis, Theory and Meta-Theory | University of Oxford | March 1995 | Pye, Richard, C.
| The Music of William Schuman | University of Newcastle | January 1999 | Quaglia, Bruce, W.
| Compositional Practice and Analytic Technique; Schoenberg’s Atonal Works: Reconciling Approaches to Sets, Lines and Developing Variation | University of Utah | October 1998 | Raickovich, Milos
| Einstein on the Beach" by Philip Glass: A Musical Analysis | City University of New York | May 1994 | Randall, Richard R.
| A General Theory of Comparative Music Analysis | University of Rochester, Eastman School of Music | May 2006 | Ricci, Adam
| A Theory of the Harmonic Sequence | Eastman School of Music, University of Rochester | May 2004 | Richards, William H.
| Transformation and Generic Interaction in the Early Serial Music of Igor Stravinsky | University of Western Ontario | June 2003 | Riddick, Frank C.
| An Analytical Study of Zemlinsky's Second String Quartet | University of Colorado, Boulder | May 1994 | Rifkin, Deborah
| Tonal Coherence in Prokofiev's Music: A Study of the Interrelationships of Structure, Motives, and Design | Eastman School of Music | April 2000 | Riley, Matthew J
| Attentive Listening: The Concept of Aufmerksamkeit and its Significance in German Musical Thought, 1770-1790 | University of London | June 2000 | Rivera, Gina
| Apprehending Music Performance in the French Enlightenment | Harvard University | August 2007 | Rivest, Johanne
| Le Concert for Piano and Orchestra de John Cage ou les limites de l'indetermination ("John Cage's Concert for Piano and Orchestra: the limits of indeterminacy") | Universite de Montreal | September 1996 | Robison, Brian Carl
| Carmen arcadiae mechanicae perpetuum: Toward a methodology for analyzing Harrison Birtwistle's music since 1977 | Cornell University | May 1997 | Rockwell, Joti
| Drive, Lonesomeness, and the Genre of Bluegrass Music | University of Chicago | June 2007 | Rogers, Nancy M.
| The Role of Verbal Encoding in Memory for Musical Timbre and Pitch Patterns | University of Rochester | July 2000 | Roller, Jonathan B
| An Analysis of Selected Movements from the Symphonies of Charles Ives Using Linear and Set Theoretical Analytical Models | University of Kentucky | October 1995 | Romig, James
| Twelve-Tone Rhythmic Structure and its Application to Form: Time-Point Nesting and Rotation in 'Spin' | Rutgers University | April 2000 | Rosenhaus, Steven L.
| Harmonic Motion in George Perle's Wind Quintet No.4 | New York University | May 1995 | Rothstein, Evan J.
| The Tradition of Developing Variation and the Problem of ‘Folkloristic’ Music in Ives’s First Violin Sonata | Indiana University | May 2001 | Rubin, Anna, I.
| Forêt Profonde: The Narrative, Sonic and Reception Design of Francis Dhomont's Forêt Profonde | Princeton University | January 1999 | Rupprecht, Philip, E.
| Tonal Stratification and Conflict in the Music of Benjamin Britten | Yale University | November 1993 | Russell, Todd B.
| Rhythm in Music: A Comparative Analysis of the Two Versions of Opus 18, No. 1 String Quartet (I, IV) by Beethoven | University of Kentucky | July 1993 | Rust, Douglas, M.
| A Theory of Form for Lutoslawski's Late Symphonic Works | Yale University | September 1994 | Sachania, Millan
| The Arrangements of Leopold Godowsky: An Aesthetic, Historical, and Analytical Study | University of Cambridge, England | July 1997 | Samplaski, Arthur G.
| A Comparison of Perceived Chord Similarity and Predictions of Selected Twentieth-Century Chord-Classification Schemes, Using Multidmensional | Indiana University | April 2000 | Samuels, Robert
| Semiotics and Mahler: Analyses of Musical Signification in the Sixth Symphony | Cambridge University | September 1993 | Sandell, Gregory, J.
| Concurrent Timbres in Orchestration: A Perceptual Study of Factors Determining 'Blend' | Northwestern University | December 1991 | Santa, Matthew S.
| Studies in Post-Tonal Diatonicism: A Mod7 Perspective | City University of New York | May 1999 | Saunders, Michael, D.
| A Computer-based Notation for the Process of Musical Composition | University of Wales, Cardiff | September 1998 | Schuijer, Michiel
| Pitch-Class Set Theory and the Construction of Musical Competence | University of Utrecht | September 2005 | Schultz, Rob
| A Diachronic-Transformational Theory of Musical Contour Relations | University of Washington | June 2009 | Scotto, Ciro, G.
| Can Non-Tonal Systems Support Music as Richly as Tonal Systems? | University of Washington | December 1995 | Scrivener, Julie A.
| Representations of Time and Space in the Player Piano Studies of Conlon Nancarrow | Michigan State University | May 2002 | Seltzer, Linda, A.
| The Unblinking Eye, Literary Theory in the Analysis of Debussy's Pelleas et Melisande | Princeton University | December 1996 | Selvafiorita, Fabio
| Genesi della forma nella Composizione Assistita al Computer: modelli teorici e prospettive poietiche nel'ambiente di programmazione OpenMusic (Genesis of form in Computer Aided Composition: theoretical models and poietical perspective) | Bologna University | January 2007 | Sheehan, Paul J.
| Twelve-Tone Enitities, Inquisitorial Mind, and the Network Model of the Multitude: Analyzing Luigi Dallapiccola's Il prigioniero | Columbia University | November 2007 | Sheinberg, Ester
| The Semantics Of Irony In Shostakovich | University Of Edinburgh, Scotland | June 1995 | Silberman, Peter S.
| Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal Music | Eastman School of Music | May 2006 | Simpson, Jasba
| Cochlear Modeling of Sensory Dissonance and Chord Roots | University Of Waterloo | April 1994 | Slottow, Stephen P.
| A Vast Simplicity: Pitch Organization in the works of Carl Ruggles | Graduate Center, City University of New York | April 2001 | Smith, Kathleen Biddick
| Musical Process in Selected Works by Michael Torke | Florida State University | May 2009 | Solomon, Jason W.
| Spatialization in Music: The Analysis and Interpretation of Spatial Gestures | University of Georgia | May 2007 | Solomon, Larry Joseph
| Symmetry as a Determinant of Musical Composition | West Virginia University | February 1973 | Spicer, Mark
| British Pop-Rock Music in the Post-Beatles Era: Three Analytical Studies | Yale University | December 2001 | Spicker, Volker
| New Piano Improvisation | University of Giessen, Germany | December 1997 | Spiegelberg, Scott C.
| The Psychoacoustics of Musical Articulation | Eastman School of Music | January 2002 | Squibbs, Ronald, J.
| Analytical Issues in Recent Instrumental Works of Iannis Xenakis | Yale University | March 1996 | Steege, Benjamin A.
| Material Ears: Hermann von Helmholtz, Attention, and Modern Aurality | Harvard University | April 2007 | Steenstra, Sytze G.
| We Are The Noise Between Stations: A philosophical exploration of the work of David Byrne, at the crossroads of popular media | Maastricht University, The Netherlands | June 2003 | Steffen, Ralph Martin
| Metalogik: The Music Theory of Walter Harburger | University of California, Santa Barbara | June 1999 | Steinbeck, Paul
| Urban Magic: The Art Ensemble of Chicago's Great Black Music | Columbia University | May 2008 | Stocken, Frederick
| Anton Bruckner and Simon Sechter's Fundamental Bass Theory | Manchester University, UK | December 2007 | Sundin, Nils-Goran
| Aesthetoc Criteria for Musical Interpretation: A Study of the Contemporary Performance of Western Notated Instrumental Music after 1750 | University of Jyvaskyla, Finland | August 1994 | Synofzik, Thomas
| Heinrich Grimm (1592/93-1637): 'Cantilena est loquela canens'. Studien zu Überlieferung und Kompositionstechnik. | University of Cologne (Germany) | May 1998 | Taylor, Stephen Andrew
| The Lamento Motif: Metamorphosis in Ligeti's Late Style | Cornell University | May 1994 | Telesco, Paula J.
| Enharmonicism in Theory and Practice in 18th-Century Music | The Ohio State University | August 1993 | Thomas, Margaret E.
| Conlon Nancarrow's 'Temporal dissonance': Rhythmic and Textural Stratification in the Studies for Player Piano | Yale University | March 1996 | Thurmaier, David P
| Time and Compositional Process in Charles Ives's Holidays Symphony | Indiana University | May 2006 | Tjoeme, Berit K.
| The Articulation of Sonata Form in Atonal Works by Fartein Valen. Analyses of his Violin Concerto, Op. 37 and Symphony No. 3, Op. 41. | University of Oslo | August 1995 | Tong, Chee-yee, J.
| Separate Discourses: A Study of Performance and Analysis | University of Southampton | October 1994 | Tsougras, Costas, F
| Generative Theory of Tonal Music and Modality - Research based on the analysis of "44 Greek miniatures" by Yannis Constantinidis | Aristotle University of Thessaloniki | March 2002 | Tucker, Gary R.
| Tonality and Atonality in Alban Berg's Four Songs, Op. 2 | University of Western Ontario | August 1995 | Turner, Mitchell M.
| Toward a General Theory of Pitch Structure: Unity Between Horizontal and Vertical Pitch-Class Sets | University of Georgia | December 1999 | Uno, Yayoi
| Avant-garde Music circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and Xenakis | University of Rochester | September 1993 | Vachon, Pierre
| Study of titles in the Piano Works of Robert Schumann, their function and meaning | Universite de Montreal | May 1998 | Van Colle, S. J.
| Music therapy process with young people who have severe and multiple disabilities | University of Reading | January 2003 | Van Colle, Sue, J
| Music therapy process with cerebral palsied children: connections with psychoanalytic models, particularly that of Winnicott | University of Reading, Department of Music | October 1999 | Varney, John Charles
| Colombian Bambuco: The Evolution of a National Music Style | Griffith University | June 1999 | Vives, Thomas E.
| The Effect of Timbre on the Chord Identification Accuracy of Sophomore-Level College Music Theory Students | University of Florida | August 1998 | Vlagopoulos Panos
| Le noble rhetorique: Mental Models in the Song Production of Guillaume de Machaut | Ionion State University | June 1998 | Vojcic, Aleksandra
| Rhythms as Form: Rhythmic Hierarchy in Later Twentieth-Century Piano Music | Graduate Center CUNY | January 2009 | Wacker, Lori J.
| Rhythmic and motivic procedures in selected late works of S.C. Eckhardt-Gramatte | Indiana University | May 1999 | Walker, Jonathan
| The Work-Concept in Music and Musicology: A Philosophical Study." (provisional title) Queen's University Belfast, School of Music, 1996 | Queen's University Belfast | September 1996 | Wang, Yuhwen
| The Value of Values: Value Judgment in Edward T. Cone's Music Analyses | Columbia University | December 1996 | Waters, Keith, J.
| Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger | Eastman School of Music | January 1997 | Waters, William J.
| A Study of Temporal Change in the Recorded Performances of Igor Stravinsky's, `The Rite of Spring' | Florida State University | December 1995 | Weisser, Benedict J.
| Notational Practice in Contemporary Music: A Critique of Three Compositional Models (Luciano Berio, John Cage, and Brian Ferneyhough) | The City University of New York | July 1998 | Weytjens, Stephan
| Text as a Crutch in Arnold Schoenberg’s “Pierrot Lunaire” op. 21? An Analysis of the Relationship between Textual Aspects and Musical Structure in Free Atonality | Catholic University of Leuven | December 2003 | Wiens, Carl K.
| Igor Stravinsky and Agon | University of Michigan | January 1997 | Wiering, Frans
| The Language of the Modes. Studies in the History of Polyphonic Modality | University of Amsterdam | August 1995 | Wilde, Howard
| Towards a New Theory of Voice-Leading Structure in Sixteenth-Century Polyphony | University of London | July 1995 | Wile, Kip, D.
| A Study of Collection in Neocentric Music | University of Chicago | August 1994 | Wilkinson, Carlton J.
| Symphony in Five Movements: A Presentation and Analytical Discussion of a New Work in a Symphonic Form | Rutgers, The State University of New Jersey | January 1995 | Williams, Justin A
| Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies | University of Nottingham | September 2009 | Windsor, Luke W.
| A Perceptual Approach to the Description and Analysis of Acousmatic Music | City University, London | September 1995 | Wright, James K.
| Schoenberg, Wittgenstein, and the Vienna Circle: Epistemological Meta-Themes in Harmonic Theory, Aesthetics, and Logical Positivism | McGill University | February 2002 | Yorgason, Brent
| Expressive Asynchrony and Meter: A Study of Dispersal, Downbeat Space, and Metric Drift | Indiana University | August 2009 | Yoshikawa, Christine M
| Rachmaninoff’s Integrative Technique and Structural Organization: A Schenkerian Analysis of Allegro Moderato, from Piano Sonata No. 1 in D Minor, Opus 28 | Arizona State University | May 2004 | Yust, Jason D
| Formal Models of Prolongation | University of Washington | November 2006 | Zamzow, Beth Ann
| The Influence of the Liturgy on the Fifteenth-Century English Carols | The University of Iowa | May 2000 |