Graduate School of Arts and Sciences Music Alumni

Archive of PhD thesis titles
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Alumni Profile: Du Yun

Du Yun
Du Yun, PhD 2006, is a composer, multi-instrumentalist, performance artist, curator and activist for new music. She received the Pulitzer Prize in Musicin 2017 for her opera, Angel’s Bone. She was nominated for a 2019 Grammy in Best Contemporary Classical Composition for “Air Glow.” Her new album, Dinosaur Scar, was also named one of the The New Yorker’s Top Ten Notable Recordings for 2018.  

PhD Recipients and Dissertations 1956-present

Activities of Recent Phd Recipients


Goldthwaite, Scott (H) Rhythmic patterns and formal symmetry in the fifteenth century chanson
Hughes, David G. (H) A view of the passing of Gothic music: line and counter-point, 1380-1430
Moe, Lawrence (H) Dance music in printed Italian lute tablatures from 1507 to 1611


Heartz, Daniel (H) Sources and forms of the French instrumental dance in the sixteenth century
Velimirovic, Milos (H) The Byzantine elements in early Slavic chant
Yellin, Victor (H) The life and operatic works of George Whitefield Chadwick


Downes, Edward (H) The operas of Johann Christian Bach as a reflection of the dominant trends in opera seria 1750-1780
Keller, Walter (H) The Italian organ hymn from Cavazzoni to Aresti; a study of the interrelation of Roman plainchant and liturgical keyboard music in the sixteenth and seventeenth centuries


Brown, Howard (H) The chanson in the French theater of the fifteenth and early sixteenth centuries: moralities, farces, sotties and monologues.
Wicks, John (H) The motets of Pierre de Manchicourt, ca.1510-1564.


D’Accone, Frank (H) A documentary history of music at the Florentine Cathedral and Baptistry during the fifteenth century.
Layton, Billy Jim (H) Italian music for the Ordinary of the Mass, 1300-1450
Pian, Rulan (H) Musical sources of the Sung dynasty (960-1279)


Haar, James (H) Musica mundana: variations on a Pythagorean theme
Slim, H. Colin (H) The keyboard ricercar and fantasia in Italy, c.1500-1550, with reference to parallel forms in European lute music of the same period.


Jander, Owen (H) Alessandro Stradella and his minor drcamperic works


Churgin, Bathia (H) The symphonies of G.B. Sammartini
Crawford, John (H) The relationship of text and music in the vocal works of Schoenberg, 1908-1924


Bonta, Stephen (H) The church sonatas of Giovanni Legrenzi
Chapman, Catherine (H) Andrea Antico
Waldbauer, Ivan (H) The cittern in the sixteenth century and its music in France and the low countries


Archibald, Bruce (H) Harmony in the Early Works of Alban Berg
Berman, Laurence (H) The evolution of tonal thinking in the works of Claude Debussy
Fuller, David (H) Eighteenth-century French harpsichord music


Bonvalot, Anthony (H) The round of Shakespeare’s age in England and Scotland: three collectors and their store, 1580-1612
Gallucci, Joseph (H) Festival music in Florence, ca. 1480--ca. 1520: canti carnascialeschi, trionfi, and related forms
Kanazawa, Masakata (H) Polyphonic music for vespers in the fifteenth century
Peterson, Floyd (H) Johann Hermann Schein’s Cymbalum Sinoium: a liturgico-musical study.


(no recipients)


England, Nicholas (H) Music among the zu wa-si of South West Africa and Botswana


Armstrong, James (H) The Vesper psalms and magnificats of Maurizio Cazzati (ca. 1620-1678)


Schwager, Myron (H) Beethoven’s arrangements: the chamber works


Planchart, Alejandro (H) The repertory of tropes at Winchester


Cardamone, Donna Gina (H) The canzone villanesca alla Napolitana : and related Italian vocal part-music: 1537-1570
Connolly, Thomas Hugh (H) The Old Roman Introits
Hill, John Walter (H) The life and works of Francesco Maria Veracini.
Lindgren, Lowell Edwin (H) A bibliographic scrutiny of dramatic works set by Giovanni and his brother Antonio Maria Bononci
Riesman, Michael De Kay (C) Phases, for electronically modulated pianoforte.
Troy, Charles Edgar (H) The comic intermezzo in eighteenth-century Italian opera seria.
Wright, Craig Milton (H) Music at the Court of Burgundy, 1364-1419


Adams, Frank John (H) The place of the piano concerto in the career of Mozart: Vienna, 1782-86
Behrens, Jack (C) Accelerando
Kelly, Thomas Forrest (H) Responsory tropes
Knibbs, Lester Allyson (C) Libra variations, PSI-1, for winds, strings and percussion
Kovarik Jr., Edward George (H) Mid fifteenth-century polyphonic elaborations of the plainchant Ordinarium missae
Schmidt, Carl Brandon (H) The operas of Antonio Cesti
Sur, Donald Young (C) The sleepwalker’s ballad; an accompanied recitative for soprano and chamber ensemble


Price, Curtis Alexander (H) Musical practices in Restoration plays, with a catalogue of instrumental music in the plays, 1665-1713.
Tawa, Nicholas Edward (H) The Parlor Song in America 1790-1860
Wiley, Roland John (H) Tchaikovsky’s Swan lake: the first productions in Moscow and St. Petersburg


DeFord, Ruth Irene (H) Ruggiero Giovannelli and the madrigal in Rome, 1572-1599
Friedmann, Michael Louis (C) Duos; settings of poems by Rimbaud and Celan: for male and female voice, flute, clarinet in B-flat, piano and string trio.
McGilvra, Douglas Price (C) Violin concerto
Shapiro, Anne Dhu (H) The Tune-Family Concept in British-American Folk-Song Scholarship
Vennum, Jr., Thomas (H) Southwestern Ojibwa music
Youens, Susan Lee (H) Music and religion in the French Reformation and Counter-Reformation


Burton, David Bryant (C) Nocturnes: 8 songs on poems by W.S. Merwin : for soprano and string trio
McClary, Susan Kaye (H) The transition from modal to tonal organization in the works of Monteverdi


Kabakov, Joel (C) El jaleo: dance suite for orchestra
MacMillan, Alan John (C) Symphony - 1976
Patterson, David Nolte (C) Chantier: for violin and piano; The celery flute player: for piano; Pied beauty: for voices, tintinnabula and magnetic tape
Thow, John Holland (C) Winged words : for voice and chamber orchestra
Yung, Bell (H) The music of Cantonese opera


Banchs, William Henry (C) Concerto for bass clarinet and piano
Erb, James Bryan (H) Orlando di Lasso’s first Magnificat publicatio : a contribution to the complete edition, with commentary
Karchin, Louis Samuel (C) Attuned to the times and Concerto for violin and seven instruments
St. Clair, Richard Collins (C) Sonata for piano


Block, Geoffrey Holden (H) The genesis of Beethoven’s piano concertos in C major (op. 15) and B-flat major (op. 19): chronology and compositional process
Bushnell, Vinson Clair (H) Daniel Read of New Haven (1757-1836): the man and his musical activities
Davis, John Douglas (C) Token, for voice and orchestra
Freeman, James (H) Opera production in Palermo, 1809 to 1830 : a theater and a collection of scores
Greenberg, Gary Joseph (C) Dobeca
Hepokoski, James Arnold (H) The compositional history of Verdi’s Falstaff : a study of the autograph score and early editions
Leon, Garby (C) Radiation
Love, Jacob Wainwright (C) Samoan variations
Moshell, Gerald (H) Death,non-death, and rebirth in the neo-classical tragedies of Igor Stravinsky
Provine Jr., Robert C. (H) Chinese ritual music in Korean sacrificial rites : music palingenesis in the early fifteenth century
Salerni, Paul Frank (C) String quartet
Sirota, Robert Benson (C) Bontshe the silent: a chamber opera in three scenes


Cacioppo, Curtis P. (C) Eclogue: symphonic poem for piano
Gajewski, Fred (H) The work sheets to Chopin’s Violoncello sonata
Iwatake, Toru (C) Perpetuum mobile: for 16 soloists and Divertimento : for chamber orchestra
Reichard, Kathryn Louise (H) Aspects of Weimar’s musical life, 1775-1807
Wissmuller, Jan C. (C) Kassandra: for soprano and 15 players


Blauvelt, Peter Oliver C. (C) Third piano sonata [op. 28]
Capwell, Charles (H) Indian street music sound recording: the Bauls of Bengal
Bridges, Thomas Whitney (H) The publishing of Arcadelt’s first book of madrigals microform
Lee, Thomas Oboe (C) Phantasia for Elvira Shatayev
Mukherjee, Nalin T. (C) The quaternity, for large orchestra
Spilsted, Gary Richard (H) The paleography and musical repertory of Codex Tridentinus 93


Adams, John (C) Concerto for violin and orchestra
Cain, Elizabeth Ann (H) English chant tradition in the late Middle Ages: the introits and graduals of the temporale in the Sarum gradual
Harris, Michael Wesley (H) The advent of gospel blues in black old-line churches in Chicago, 1932-33, as seen through the life and mind of Thomas Andrew Dorsey
Mauk Jr., Frederick Henry (H) Aspiring to the condition of language : an examination of aesthetic considerations in the application of structural (semiological) principles to musical problems
Wilson, John Kenneth (H) Selected Eighteenth-Century Settings of Metastasio’s Libretto


Brief, Todd (C) Cantares: for soprano and large orchestra
Bourland, Roger (C) Nostos, Three dark paintings, and Scenes from Redon
Dautricourt, Jean-Pierre (C) Ceremony 2: for orchestra
Grayson, David Alan (H) The genesis of Debussy’s Pelléas et Mélisande: a documentary history of the opera, a study of its sources, and "Wagnerian" aspects of its thematic revisions
Mead Jr., Ernest C. (H) The instrumental ensemble canzonas of Girolamo Frescobaldi
Myska, David Bernard (C) Ballade: for piano
Reich, Amy (C) The one turning: [for mezzo-soprano and chamber orchestra]
Smith, Gregory E. (H)Homer, Gregory, and Bill Evans?: the theory of formulaic composition in the context of jazz piano improvisation
Swain, Joseph Peter (H) Limits of musical structure
White, Pamela Cynthia (H) Idea and representation: source-critical and analytical studies of music, text and religious thought in Schoenberg’s Moses und Aron


Gilliam, Bryan Randolph (H) Richard Strauss’s Daphne microform: opera and symphonic continuity
MacPherson, William Alan (H) The music of the English country dance, 1651-1728 microform: with indexes of the printed source
Meadors Jr., James M. (H) Italian lute fantasias and ricercars printed in the second half of the sixteenth century
Pevsner, Mark (C) Trio: for violin, viola, and piano


Hamel, Keith Aime (C) Obsessions 2: for string quartet
Merkley, Paul Alfred (H) Conflicting assignments of antiphons in Italian tonaries
Saunders Jr., Harris S. (H) The repertoire of a Venetian opera house (1678-1714): the Teatro Grimani di San Giovanni Grisos


Cave 3rd, Lawrence Harold (C) Purgatory: a chamber opera in one act after Yeats
Diamond, Joseph Aloysius (H) The tradition of three tropes
Larson, Keith Austin (H) The unaccompanied madrigal in Naples from 1536 to 1654
Meconi, Honey (H) Style and authenticity in the secular music of Pierre de la Rue
Romeo, James Joseph (C) Sextet: for flute, Bb clarinet, bassoon, violin, viola, cello


Boone, Graeme MacDonald (H) Dufay’s early chansons: chronology and style in the manuscript Oxford, Bodleian Library, Canonici misc. 213
Hill, Robert S. (H) The Möller manuscript and the Andreas Bach book: two keyboard anthologies from the circle of the young Johann Sebastian Bach
McKinley, Thomas Lawrence (C) Shadows
Riggs, Robert Daniels (H) Articulation in Mozart’s and Beethoven’s sonatas for piano and violin: source-critical and analytic studies
Shattenkirk, Ray (C) The raven variations
Steinberg, Russell Allen (C) String quartet no. 1


Bonds, Mark Evan (H) Haydn’s false recapitulations and the perception of sonata form in the eighteenth century
Braus, Ira Lincoln (H) Textual rhetoric and harmonic anomaly in selected Lieder of Johannes Brahms
Lam, Joseph Sui Shing (H)Creativity within bounds: state sacrificial songs from the Ming dynasty (1368-1644 A.D.)
Samuel, Virginia Elizabeth (C) Symphony
Urquhart, Peter Whitney (H) Canon, partial signatures, and "Musica ficta" in works by Josquin DesPrez and his contemporaries
Yourke, Peter Hannon (C) Sheep in fog


Kyr, Robert Harry (C) The fifth season: (Symphony no. 3)
Lano, Stephen (C) Sinfonia eikasia
Littlefield, James Patrick (C) String quartet no. 1
Melamed, Daniel R. (H) J.S. Bach and the German motet
Noland, Gary Lloyd (C) String quartet in four movements, op. 12
Ossi, Massimo Michele (H) Claudio Monteverdi’s concertato technique and its role in the development of his musical thought
Shreffler, Anne Chatoney (H) Webern’s Trakl settings
Yim, Jay Alan (C) Geometry and delirium: for small chamber orchestra & electronics


Eldridge, William Kilgore (C) String Quartet
Marks, Martin Miller (H) Film Music of the Silent Period 1895-1924
Mertz, Margaret Stover (H) History, Criticism and the Sources to Benjamin Britten's The Rape of Lucretia
Woolf, Randall Benson (C) Chaotic Regime for chamber Orchestra


Henry J. Klumpenhouwer (T) A Generalized Model of Voice-Leading for Atonal Musi”
Jeremiah W.R. McGrann (H) Beethoven’s Mass in C, Op. 86
Jeff William Nichols (C) Take-Off, for Clarinet Doubling Bass Clarinet, Percussion and String Trio
Vincent J. Panetta Jr. (H) Hans Leo Hassler and the Keyboard Toccata: Antecedents, Sources, Style
Amy K. Stillman (E) Himenetahiti: Ethnoscientific and Ethnohistorical Perspectives on Choral Singing and Protestant Hymnody in the Society Islands, French Polynesia


James Boros (C) Bivouac for Reciter and Chamber Ensemble
Lori A. Burns (T) J.S. Bach’s Choral Harmonizations of Modal Cantus Firmi
David M. Kilroy (H) Kurt Weill on Broadway: The Postwar Years (1945–50)
Deborah T. Spragg (C) Face to Face (Ten Sappho Fragments) for Soprano and Five Instruments
Jeffrey Stadelman (C) Beatrice for Mezzo-soprano, Bass Clarinet, Violin, and Piano
Amanda Z. Wesner (H) The Chansons of Loyset Compere: Authenticity and Stylistic Development


Durante, Sergio (H) Mozart and the Idea of Vera Opera: A Study of La Clemenza Di Tito
Kurth, Richard Burton (T) Mosaic Isomorphism and Mosaic Polyphony: Balance and Imbalance in Schoenberg’s Twelve-Tone Rhetoric
Wollny, Peter (H) Studies in the Music of Wilhelm Friedemann Bach: Sources and Style


Peter Alexander (C) Symphony No. 1
Anthonly Brandt (C) Septet-a-Tete for Flute, Bass Clarinet, Two Percussion, Piano, Violin, and Cello
Daniel Beller-McKenna (H) Brahms, the Bible, and Post-Romanticism: Cultural Issues in Johannes Brahms’ Later Settings of Biblical Texts, 1877–1896
Carl Leafstedt (H) Music and Drama in Bela Bartok’s Opera Duke Bluebeard’s Castle
Roger Neill (C) Enemy Way Music


Riad Abdel-Gawad (C) Taqaseem for Chamber Orchestra
Alexandra Amati-Camperi (H) (November 1994 degree) An Italian Genre in the Hands of a Frenchman: Philippe Verdelot as Madrigalist, with Special Emphasis on the Six-Voice pieces
Alexandros Kalogeras (C) Anax Apollon
Thomas Kozachek (H) The Repertory of Chant for Dedicating Churches in the MIddle Ages: Music, Liturgy, and Ritual
Fu Jun (C) Road to Shu
Anne Stone (H) Writing Rhythm in Late Medieval Italy: Notation and Musical Style in the Manuscript Modena Alpha.M.D, 24


Elizabeth Abbate (H) Myth, Symbol, and Meaning in Mahler’s Early Symphonies
Naomi Adele Andre (H) Azucena, Eboli, and Amneris: Verdi’s Writing for Women’s Lower Voices
Emil Awad (C) Zazil for Orchestra
Mary Greer, (H) The Sacred Duets and Terzets of Johann Sebastian Bach: A Study of Genre and Musical Text Interpretation
Takehiko Gokita (C) Autumn Tear for Orchestra
John A. Johnson (H) Gershwin’s ‘American Folk Opera’: The Genesis, Style, and Reputation of Porgy and Bess (1935)
Takashi Koto (C) The Distant Stars for Orchestra
Roberta Lukes (H) The Poeme electronique of Edgard Varese
Andrew Rindfleisch (C) Fun House
Mark Risinger (H) Handel’s Compositional Premises and Procedures: Creative Adaptation and Assimilation in Selected Works, 1733–44
Siu Way Yu (H) The meaning and Cultural Functions of Non-Chinese Musics in the 18th-Century Manchu Court


Suhnne Ahn (H) Genre, Style, and Compositional Procedure in Beethoven’s ‘Kreutzer’ Sonta
Mary Davis (H) Esprit Gaulois: Erik Satie’s Sports et divertissements in Context
Jason Koczela (C) Octet
Adam Krims (T) Some Structuralist and Post-Structuralist Models for Music Theory
Ann Morrison (E) Music That Moves Between Worlds: Wabanaki Music as Tradition and History
Kensaku Shimizu (C) Orchestral Work


Sean Gallagher (H) Models of Varietas: Studies in Style and Attribution in the Motets of Johannes Regis and His Contemporaries
Laura Kozachek (H) The Specialnik Dodex, Hradec Kralove, Krajske Muzeum Knihovna (Regional Museum Library), MS II A7
Charles McGuire (H) Epic Narration: The Oratorios of Edward Elgar
Raul R. Romero (E) Debating the Pasts: Music, Identity and Mestizaje in the Central Peruvian Andes
Andrew Shenton (H) The Unspoken Word: Olivier Messiaen’s ‘Langage Communicable’
Kathryn Welter (H) Johann Pachelbel: Organist, Teacher, Composer: A Critical Reexamination of His Life, Work, and Liturgical Significance


Jennifer Baker Kotilaine (H) Culture Bearers, Culture Brokers: Ratilio and folk Music in Post-Soviet Lithuania
Noel Bisson (H) English Polyphony for the Virgin Mary: The Votive Antiphon, 1420–1500
David Horne (C) A Friend of the People—Opera in Three Acts with a Prologue
Brian Hulse (C) Clarinet Quintet
David Kidger (H) The Masses of Adrian Willaert: A Critical Study
Christoph Neidhöfer (T) An Approach to Interrelating Counterpoint and Serialism in the Music of Igor Stravinsky, Focusing on the Principal Diatonic Works of his Transitional Period
Kurt Stallmann (C) String Quartet #1
David Taddie (C) Mutant for Chamber Orchestra and Electronic Tape


Karim Al-Zand (T) The Improvisational Style of Julian ‘Cannonball’ Adderley
Jen-yen Chen (H) The a cappella Style in Viennese Sacred Music of the Later 18th Century


Alexander Fisher (H) Music in Counter-Reformation Augsburg: Musicians, Rituals and Repertories in a Religiously Divided City
Edward Gollin (T) November, 2000) Representations of Space and Conceptions of Distance in Transformational Music Theories
Alan Gosman (T) Compositional Approaches to Tonal Canon
Stefan Hakenberg, Stefan (C) Oder River Image
Jonathan Holland (C) November, 2000) Actions Rendered: Interpretations of Pollock for Three Orchestras
Hikoko Ito (C) Aperture II for Eleven Players
Patricia Tang (E) Masters of the Sabar: Wolof Griots in Contemporary Senegal


Lansing McLoskey (C) (November, 2001) Requiem, ver. 2.001x
April James (H) Her Highness’ Voice: Maria Antonia, Music and Culture at the Dresden Court
Judah Cohen (E) Becoming a Reform Jewish Cantor: a Study in Cultural Investment
Elliott Gyger (C) Polishing Firewood for Cello and Ensemble


Roe-Min Kok (H) Romantic Childhood, Bourgeois Commercialism and the Music of Robert Schumann
Arni Ingolfsson (H) ‘These Are The Things You Never Forget’: The Written and Oral Traditions of Icelandic Tvísöngur
Thomas Peattie (H) (November, 2002) The Fin-de-siècle Metropolis, Memory, Modernity and the Music of Gustav Mahler
Andrew Talle (H) J. S. Bach’s Keyboard Partitas and Their Early Audience


Stephanie Treloar (H) (November 2003) The Madrigals of Giaches de Wert: Patrons, Poets and Compositional Procedures
Jeannie Ma. Guerrero (T) (November 2003) Text-Setting Techniques in Luigi Nono’s Choral Works (1956 to 1960)
Erik Spangler (C) Mandala of the Four Directions: a ritual cantata for 4 singers and 4 ensembles
Richard Whalley (C, A Wisp of Spring Cloud


Kiri Miller (E) A Long Time Traveling: Song, Memory, and the Politics of Nostalgia in the Sacred Harp Diaspora
Matthew Peattie (H) The Beneventan Antiphon and the Influence of Beneventan Style in the South Italian Office
Lara Pellegrinelli (E) The Song is Who? Beyond ‘Doubleness’ in Mainstream, Contemporary Jazz Singing
Julia Randel (H) (November, 2004) Dancing With Stravinsky: Balanchine, Agon, Movements for Piano and Orchestra, and the Language of Classical Ballet
Ken Ueno (C) Iku


Cynthia Gonzales (T) (November 2005) Text-Music Relationships in the Early Songs of Arnold Schoenberg
David Kaminsky (E) (November 2005) Hidden Traditions: Conceptualizing Swedish Folk Music in the Twentieth Century
Zoe Lang (H) (November 2005) ‘Light’ Music and Austrian Identity: the Strauss Family Legacy in Austrian Politics and Culture, 1918–1938
Helen Lee (C) (November 2005) reflections
Lei Liang (C) septet
Christina Linklater (H) Popularity, Presentation and the Chansonnier Saint-Germain-des-Prés
Bettina Varwig (H) Expressive Forms: Rethinking Rhetoric in the Music of Heinrich Schütz
Du Yun (C) Zolle: a music-theatre


Aaron Allen (H) (November 2006) Beethoven’s Music in Nineteenth-Century Italy: A Critical Review of its Reception through the Early 1860s
David Black (H) Mozart and the Practice of Sacred Music 1781–91
Michael Cuthbert (H) (November 2006) Trecento Fragments and Polyphony Beyond the Codex
Richard Giarusso (H) Dramatic Slowness: Adagio Rhetoric in Late Nineteenth-Century Austro-German Music
Christopher Jon Honett (C) Courtesy of Blue
Natalie Kirschstein (E) Reclaiming the Future: Communal Space, Collective Memory, and Political Narrative on Uruguay’s Murga Stage
Jonathan Kregor (H) Franz Liszt and the Vocabularies of Transcription, 1833–65
Sarah Morelli (E) ‘From Calcutta to California’ Negotiations of Movement and Meaning in Kathak Dance
Jessie Rodin (H) Josquin and the Polyphonic Mass in the Sistine Chapel
Julie Rohwein (C) Shattered Glass
Eliyahu Shoot (C) (March 2007) Passage. A Musical Portfolio
Benjamin Steege (T) Material Ears: Hermann von Helmholtz, Attention, and Modern Aurality
Jonathan Wild (T) (March 2007) Tessellating the Chromatic: Combinatorial Resources of Pitch Space


Brigid Cohen (H) (November 2007) Migrant Cosmopolitan Modern: Cultural Reconstruction in Stefan Wolpe’s Musical Thought, 1919–1972
Aaron Girard (H) (November 2007) Music Theory in the American Academy
Mary Greitzer (T) (November 2007) Tormented Voices
Robert Hasegawa (T) Just Intervals and Tone: Representation in Contemporary Music
Anton Vishio (T) Asymmetries in Post-Tonal Counterpoint


Aaron Berkowitz (E) “Cognition in Improvisation: the Art and Science of Spontaneous Musical Performance”
Matthew Clayton (E) (March 2009) “M-Base: Envisioning Change for Jazz in the 1980s and Beyond”
Peter Gilbert (C) (November 2008) The bold arch of undreamt bridges
Jose Luis Hurtado (C) Letargo e Instante for Piano Soloist and Large Ensemble
Nicholas Vines (C) (November 2008) The Hive A Chamber Opera in Seven Tableaux


Emily Abrams Ansari (H) (March 2010) Masters of the President’s Music: Cold War Composers and the U.S. Government
William Bares (E) (November 2009) Eternal Triangle: American Jazz in European Postmodern
Petra Gelbart (E) Learning Music, Race and Nation in the Czech Republic
Marc Gidal (E) Crossing and Purifying Boundaries: The Music of Umbanda and Quimbanda within the Afro-Gaucho Religious Community of Southernmost Brazil
Hannah Lash (C) Portfolio of Compositions
Drew Massey (H) An Unobtrusive Minister of Genius: John Kirkpatrick and the Editing of Contemporary American Music
Karola Obermueller (C) Pressure and Shadow
Adam Roberts (C) Works 2005–2010
Matthias Roeder (H) (March 2010) Music, Politics, and Public Sphere in Late 18th-Century Berlin
Dominique Schafer (C) (November 2009) Gravity as the Source of Lightness: A set of seven compositions
David Trippett (H) (November 2009) Wagner’s Melodies: Aesthetics and Materialism in the Construction of German Musical Identity, 1840–1860


Ryan Banagale (H) Rhapsodies In Blue: New Narratives for an Iconic American ‘Composition’
Davide Ceriani (H) Italianizing the Metropolitan Opera House: Giulio Gatti-Casazza’s Era and the Politics of Opera in New York City, 1908–1935
Jean-Francois Charles (C) Music Composition: An Interactive Approach
Ellen Exner (H) The Forging of a Golden Age: King Frederick the Great and Music in Berlin 1732–1756
Bert van Herck (C) Nessuno Sentiva
Sheryl Kaskowitz (E) As We Raise Our Voices: A Social History and Ethnography of ‘God Bless America,’ 1918–2010
Ulrich Kreppein (H) Soundworlds, World of Sounds
Evan MacCarthy (H) Music and Learning in Early Renaissance Ferrara, c. 1430–1470
Alexandra Monchick (H) Silent Opera: The Manifestation of Silent Film Technique in Opera during the Weimar Republic
Sasha Siem (C) Works, 2006–2011
Tolga Yayalar (C) A Book of Ingenious Devices: A Musical Portfolio
Anna Zayaruznaya (H)(Nov 2010) Form and Idea in the Ars Nova Motet


Corinna Campbell (E) Personalizing Tradition: Surinamese Maroon Music and Dance in Contemporary Urban Practice
Glenda Goodman (H) American Identities in an Atlantic Musical World: Transhistorical Case Studies
Michael Heller (E) Reconstructing We: History, Memory and Politics in a Loft Jazz Archive
Katherine Lee (E) Encounters with Samulnori: The Cultural Politics of South Korea's Dynamic Percussion Genre
Frank Lehman (T) Reading Tonality Through Film: Transformational Hermeneutics and the Music of Hollywood.
Hillary Zipper (C) Composition Portfolio


Andrea Bohlman (H) (November 2012), Activism and Music in Poland, 1978-1989
William Cheng (H) (November 2012), Technologies of Transgression and Musical Play in Video Game Cultures
Louis Epstein (H) Toward a Theory of Patronage: Funding for Music Composition in France, 1918-1939
Ashely Fure (C) Boundary Notions: A Sonic Arts Portfolio
John McKay (T) (November 2012) Universal Music-Making: Athanasium Kircher and Musical Thought in the Seventeenth Century
Daniel Mekonnen (AM)
Matthew Mugmon (H) The American Mahler: Musical Modernism and Transatlantic Networks, 1920-1960
Gina Rivera (H) Les filles de l'Opéra in the Early Eighteenth Century
Meredith Schweig (E) The Song Readers: Rap Music and the Politics of Storytelling in Taiwan
Gabriele Vanoni (C) Sculpting Sounds and Colors: Works 2008-2013


Edgar Barroso (C) Transdisciplinary Collaboration, Gestural Embodiment of Sound and Social Context. A Framework for a Sonic Portfolio
Christopher Chowrimootoo (H) (November 2013) Middlebrow Modernism: Britten’s Operas and the Great Divide
Elizabeth Titrington Craft (H) Becoming American Onstage: Broadway Narratives of Immigrant Experiences in the United States
Andrew Friedman (T) Momentum: A Phenomenology of Musical Flow and Meaning
Hannah Lewis (H), Negotiating the Soundtrack: Music in Early Sound Film in the U.S. and France, 1926-1934
Gavin Williams (H) (November 2013) Arts of Noise: Sound and Media in Milan ca. 1900


James Blasina (H) Music and Gender in the Medieval Cult of St. Katherine of Alexandria, c.1050-1300
Sarah Hankins (E) Black Musics, African Lives, and the National Imagination in Modern Israel
Thomas Wen Tsen Lin (H) Giasone’s Travels: Opera and Its Performance in the Seventeenth Century
Peter McMurray (E) (November 2014) Pathways to God: The Islamic Acoustics of Turkish Berlin
Lucille Yehan Mok (H) (November 2014) Glenn Gould, Oscar Peterson, and New World Virtuosities
Rowland Moseley (T) (November 2014) The Art of Gigue: Perspectives on Genre and Formula in J.S. Bach’s Compositional Practice
Josiah Wolf Oberholtzer (C) A Computational Model of Music Composition
Ian Power (C) Toward a Music of Exegetic Becoming and Actualized Work
Kai Tang (E) (November 2014) Musical Culture of Chinese Floaters


Trevor Bača (C) Magic Constructivism: Desiderata of a Musical Practice
Ann Bridget Cleare (C) Sculpting Shape, Time, and Motion: A Composition Portfolio
Joe G. Fort (HM)(November 2015) “Incorporating Haydn’s minuets. Towards a Soatic Theory of Music”
John Arthur Gabriel (HM) “Opera After Optimism: The Fate of Zeitoper at the End of the Weimar Republic”
Olivia Rose Lucas (T) “Loudness, Rhythm and Environment: Analytical Issues in Extreme Metal Music”
Sabrina Anne Brown Schroeder (C) Selected Works 2009-2016
Anne Ashby Searcy (HM) “Soviet and American Cold War Ballet Exchange, 1959–1962”
Jonathan Sanjeev Withers (E) “Kurdish Music-Making in Istanbul: Music, Sentiment, and Ideology in a Changing Urban Context”
Micah Wittmer (HM)(November 2015) “Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925–1939)”


Sivan Cohen Elias (C) Wave of Qualities
Marta Gentilucci (C) Shaping Time: Composing as Bodily Experience of Sound
Matthew Henseler (H) (November 2016) Dance and Instrumental Music in America, 1770-1830
Monica Hershberger (H) 'Life is Strife', American Operative Heroines during the Cold War
Justin Hoke (C) disparate space, shared space
Panayotis League (E) Echoes of the Great Catastophe: Resounding Anatolian Greekness in Diaspora
William Evan O'Hara (T) The Art of Recomposition: Creativity, Aesthetics, and Music Theory
Samuel Parler (H) Musical Racialism and Racial Nationalism in Commercial Country Music, 1915-1953
Sarah Politz (E) Entrepreneurship, Style, and Spirituality in Benin's Jazz and Brass Bands
Stefan Prins (C) Hybrid Bodies in Hybrid Spaces
Michael Uy (H) The Big Bang of Music Patronage in the United States: The National Endowment for the Arts, The Rockefeller Foundation, and the Ford Foundation


Clara Iannotta (C) Sonic Instability: A Composition Portfolio
Emerson Morgan (H) “Chant and Urban Procession in Rouen 1150-1450”
Kai Johannes Polzhofer (C) Music Beyond Sound
Stephanie Probst (T)“Sounding Lines: New Approaches to Melody in 1920s Musical Thought”
Frederick Reece (T) “Ringing False: Music Analysis, Forgery, and the Technologies of Truth”
Natasha Roule (H)“The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism in the French Provinces,


Rujing Huang (E), “‘Sound of Elegance’: Court Music Revival, Ritual, and the Politics of Nationhood in China Today”
Krystal Klingenberg (H), “Toward a More ‘Modern’ Music Industry: The Creative Economy of Popular Music in Uganda”
Timothy McCormack (C), Music of Embodied Physicality: A Portfolio of Works 2011-2019
Manuela Meier (C), On the Peripheral: Sonic Ecologies at the Borderlines of the Possible --
An Environmental-Systemic Approach to Music Composition
Marek George Poliks (C), Work (2013-2018)
Caitlin Schmid (H), “‘If You’re in the Avant Garde, You’re in the Wrong War’: Charlotte Moorman’s New York Avant Garde Festival, Experimentalism and U.S. Politics of the 1960’s”


A.M. Performance Practice Degree Recipients


Scott Metcalfe (AM, November 2005) Motolinía on music: an anthology, translation, and study of writings about music in the works of fray Toribio de Benavente, called Motolinía (c. 1490-1569)


David Kim (AM) Hairpins and Notation as Metaphor
Mariam Nazarian (AM) Chopin: In Theory and Practice - A Review and Proposal of Analytical and Pedagogical Methods





Recent PhD Recipients' Activities

Recent alumni positions include [partial list]:

Suhnne Ahn, Peabody Institute, Johns Hopkins University

Aaron Allen, University of North Carolina Greensboro

Karim Al-Zand, Shepherd School of Music, Rice University

Alexandra Amati, University of San Francisco

Naome Andre, University of Michigan

Emily Abrams Ansari, University of Western Ontario

Trevor Baca, University of Wisconsin

Ryan Banagale, Colorado College

William Bares, Univesity of North Carolina, Asheville

Edgar Barroso, Tecnologico de Monterrey, Mexico

Aaron Berkowitz, Brigham and Women's Hospital, Harvard Medical School

Noel Bisson, Harvard University

David Black, Research Fellow, Homerton College, Cambridge University

Jamie Blasina, Swarthmore College

Andrea Bohlman, University of North Carolina, Chapel Hill

Anthony Brandt, Shepherd School of Music, Rice University

Corinna Campbell, Williams College

Davide Ceriani, Rowan University

Jean-Francois Charles, University of Iowa, Iowa City

Will Cheng, Dartmouth College

Christopher Chowrimootoo, University of Notre Dame

Ann Cleare, Trinity College, Dublin

Brigid Cohen, New York University

Judah Cohen, Indiana University

Sivan Cohen Elias, Harvard University (one year appointment)

Elizabeth Craft, University of Utah

Myke Cuthbert, MIT

Louis Epstein, St. Olaf College

Ellen Exner, New England Conservatory

Joe G. Fort, King's College, London

Alexander Fisher, University of British Columbia

Ashley Fure, Dartmouth College

John Gabriel, University of Melbourne

Sean Gallagher, New England Conservatory

Petra Gelbart, Initiative for Romani Music, NYU

Marta Gentilucci, Freelance Composer

Richard Giarusso, Peabody Conservatory

Marc Gidal, Ramapo College of New Jersey

Peter Gilbert, University of New Mexico

Ed Gollin, Williams College

Cynthia Gonzales, School of Music, Texas State University

Glenda Goodman, University of Pennsylvania

Alan Gosman, University of Arkansas

Mary Greitzer, Eastman School of Music

Jeannie Guerrero, Eastman School of Music

Robert Hasegawa, McGill University

Sarah Hankins, University of California, San Diego

Michael Heller, University of Pittsburgh

Monica Hershberger, SUNY Geneseo

Jonathan Holland, Berklee College of Music

Brian Hulse, Christopher Newsport University

Jose Luis Hurtado, University of New Mexico

Clara Ianotta, Freelance Composer

Arni Ingolfsson, Iceland Academy of the Arts

April James, Kislak Center, Penn Libraries

David Kaminsky, University of California, Merced

David Kim, Whitman University

Krystal Klingenberg, University of Hartford

Roe-Min Kok, McGill University

Jon Kregor, University of Cincinnati

Joseph Lam, University of Michigan

Zoe Lang, Software Engineer, Vista Higher Learning

Hannah Lash, Yale University

Panayotis League, Florida State, Tallahassee

Katherine I Lee, University of California, Los Angeles

Frank Lehman, Tufts University

Hannah Lewis, University of Texas, Austin

Lei Liang, University of California, San Diego

Thomas Lin, Research Topic Specialist, Frontiers

Christina Linklater, Harvard University (Loeb/Houghton Library)

Olivia Lucas, Victoria University of Wellington

Evan MacCarthy, University of West Virginia

Lansing McLoskey, Frost School of Music, University of Miami

Charles McGuire, Oberlin College

John Z McKay, University of South Carolina School of Music

Peter McMurray, University of Cambridge

Manuela Meier, University of Utah

Kiri Miller, Brown University

Luci Mok, College of DuPage

Alexandra Monchick, California State University, Northridge

Sarah Morelli, Lamont School of Music, University of Denver

Ann Morrison Spinney, Boston College

Rowland Moseley, Dartmouth College (one-year appointment)

Matthew Mugmon, University of Arizona

Christoph Neidhöfer, McGill University

Karola Obermueller, University of New Mexico

William O'Hara, Gettysburg College

Samuel Parler, Baylor University

Matthew Peattie, University of Cincinatti

Thomas Peattie, University of Mississippi

Lara Pellegrinelli, Arts Journalist

Marek Poliks, Software Engineer

Sarah Politz, University of Florida, Gainesville

Kai Johannes Polzhofer, Composer/Conductor

Ian Power, University of Maryland

Stefan Prins, Composer, performer, artistic co-director of Nadar Ensemble

Stephanie Probst, University of Cambridge

Julia Randel, University of Dayton

Frederick Reece, Post-doc Fellow, Indiana University

Adam Roberts, Istanbul Technical University, Centre for Advanced Research in Music

Jesse Rodin, Stanford University

Caitlin Schmid, Harvard University (one-year appointment)

Sabrina Schroeder, Simon Fraser University's School for Contemporary Arts, Vancouver

Meredith Schweig, Emory University

Annie Searcy, University of Miami

Eliyahu Shoot, Tulane University

Sasha Siem, Singer/Songwriter

Erik Spangler, Maryland Institute College of Art

Kurt Stallmann, Rice University

Benjamin Steege, Columbia University

Amy Stillman, University of Michigan

David Taddie, West Virginia University

Andrew Talle, Northwestern University

Patricia Tang, MIT

David Trippett, Bristol University, UK

Ken Ueno, UC Berkeley

Michael Uy, Resident Dean, Harvard University

Gabriele Vanoni, Berklee College of Music

Bettina Varwig, University of Cambridge, UK

Nicholas Vines, Sydney Grammar School, NSW

Anton Vishio, NYU Steinhardt

Daniel Walden, Queens College, Oxford Post-doc

Richard Whalley, University of Manchester, England

Jon Wild, McGill University

Gavin Williams, post-doc King's College, London

Jonathan Withers, Data Analyst, iRobot

Micah Wittmer, Berkeley Carroll School, Brooklyn

Du Yun, SUNY Purchase

Anna Zayaruznaya, Yale University