#  GSAS Alumni 

 



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Below is a list of PhD Recipients dating back to 1956.  
Note: H denotes Historical Musicology; E denotes Ethnomusicology; T denotes Music Theory; C denotes Composition; and CPCI denotes Creative Practice and Critical Inquiry.

**2026**

Jonah Nuoja Luo Haven (C), On the Skin of Grief  
Kabasomi Kakoma (CPCI), MIRIAM & ME: AN AFROGYNEGLOSSIC INHERITANCE  
Siriana Lundgren (H), Boomtown: How Music, Noise, and Vice Made the Mining West  
Cana McGhee (H), Botanical Musicalities: Listening with Plant-Human Encounter  
Rachel Rosenman (T), Towards an Intermedial Poetics of Song: Studies in Twentieth-Century French *Mélodie*  
Leo Sarbanes (H), Orchestra for All: Community, Race, and Storytelling at the Twentieth-Century American Symphony  
Golnaz Shariatzadeh (C) (November 2025), Mythologies and Sound  
Davindar Singh (E), From Market Corruption to Musical Collusion: The Patronage and Music of Punjabi Logistics, 1925-2025

**2025**

Nina Baratti (E) (November 2024), Music, Citizenship and Vernacular Cosmopolitanism in Luanda, Angola  
Lee Cannon-Brown (T), Ultramodernism in Global Music Thought, 1900 – 1950  
Alyssa Cottle (H), Musical Democratization, Sound Collectives, and Latin American Unity on the Road to Socialism in Chile, 1967 – 1973  
Ganavya Doraiswamy (CPCI), \[ \]: Towards a Musicoanagogical Methodology  
Clara Viloria Hernandez (H), Cultural Baggage: Queens, Mobility and Court Performance Between Paris, Vienna, and Madrid (1612 – 1673)  
Sonja Mutić (C), Intimate Temporal Resonances  
Felipe Ledesma Núñez (H), Listening to Andean Idolatry Trials: 1650 – 1680  
Uri Schreter (H), The Jewish Beat: Klezmer, Culture, and Community in Postwar America  
Kelley Sheehan (C), constructing nerves, awakening machines  
Julien Vincenot (C), « Placeholders for \[ failure \] – A music creation and technology research »  
Jingyi Zhang (H), The Hypermobility Turn: Opera of The Future, The Future of Opera

**2024**

Elaine Fitz Gibbon (H), Artists/Historians: Mauricio Kagel, Musiktheater and the Mobility of (Music) History  
David Forrest (T) (November 2023), Shapes: A Music Method for the Expert Beginner  
Sarah Koval (H), Music and Health Regimens in Early Modern England  
Christopher Lock (C), Resonant Simulacra: a Portfolio of Compositions  
Kate Mancey (T), The Technophonic Everyday  
Jacob Sunshine (E) (November 2023), Déjala Correr: The Sonic Infrastructure of Sociality on Columbia’s Caribbean Coast  
Audrey Wozniak (E), A Discipline for the Nation: Turkish Classical Music Choirs in History and Practice  
Payam Yousefi (E) (November 2023), The Politics of Style in Classical Persian Music

**2023**

Giulia Accornero (T), Measured Music: Reckoning Musical Time from Baghdad to Paris (850–1350)  
Alexander William Cowan (H), Unsound: A Cultural History of Music and Eugenics  
Jonathan Gómez (H) (November 2022), “The Way We Play”: Black American History, Humanity, and Musical Identity  
Edwin Li (T) (November 2022), Border Listening: A Global Hermeneutics of Gustav Mahler and His Music  
Laurie Lee (H), On Kisaeng: A Sociopolitical History of Entertainment Labor in Korea, 1900–1950  
Elena Rykova (C), Mapping Sound Worlds: A Composition Portfolio  
Zeynep Toraman (C), The Sound of the Sea all the Time: Landscape and Image as Method  
Lorenzo Troiani (C), The Oscillation of Things: A Composition Portfolio  
Anna Yu Wang (T), Theorizing Musicality in 뼝첨狗 Huangmei Opera and 멱凌戲 Kua-a Opera  
Julio Zúñiga (C), EDIFICES HOST SPECTERS: A Composition Portfolio

**2022**

James Bean (C), Boundary, Artefact, and Presence in Recent Work  
William Weston Bennett (T), Xenophonia: Sound, Futurity, and Outer Space in the Age of Extremes  
Ian R. Copeland (E), Sonic Humanitarianism: Musical Aid in Malawi  
John Dilworth (H) (November 2021), Media, Knowledge, and Oratorio Culture in Britain, 1840–1900  
Hayley Fenn (H), Breath, Gravity, Giants, and Death: Puppet-Musical Encounters from *Die Zauberflöte* to Today  
Pei-Ling Huang (E), Ways of Love: Self-making and Repertoire Formation through the Musical Legacy of Shah Abdul Latif in Sindh, Pakistan  
Samantha Jones (E), Embodying Musicality through Irish Dance  
John Pax Mulligan (C), Searching for voice through thought: *music written between 2015 and 2022*  
Henry Stoll (H), The Unsung Revolution: The Music of Haitian Independence, 1804-1820  
Etha Williams (H) (November 2021), The Keyboard as Sensorium: Pedagogy, Pleasure, and Philosophies of the Body, ca. 1750-1800  
Jeff Williams (T), Power Chords and Politics: Guitar Distortion as a Topic in American Rock

**2021**

Alana Mailes (H), Mobility, Diplomacy, and Musical Exchange between England and Venice, 1600–1660  
Giulio Minniti (H), The Origins of Musical Notation in Central and Southern Italy  
Max Murray (C), Contingency and Necessity: A Musical Offering  
Rajna Swaminathan (CPCI), Time, Virtuosity, and Ethics Otherwise: Queer Resonances for Diasporic Play  
Adi Snir (C), Shards Broken and Reconstructed: A Composition Portfolio

**2020**

Katie Callam (H), ‘To Look After and Preserve’: Curating the American Musical Past, 1905-1945  
Grace Edgar (H), Hearing Hollywood Women: Music and Gender in Action Films, 1950s–1980s  
Michael Kushell (E), Local Kabuki in the Center of Japan: An Ethnography of Transition  
Diane Oliva (H), Earthquakes in the Eighteenth-Century Musical Imagination  
Tamar Sella (E), Resonant Ancestors: Arab Jewish Memory on the Israeli Stage  
Christopher Swithinbank (C), *always extra folds*: A Composition Portfolio

**2019**

Rujing Huang (E), ‘Sound of Elegance’: Court Music Revival, Ritual, and the Politics of Nationhood in China Today  
Krystal Klingenberg (E), Toward a More ‘Modern’ Music Industry: The Creative Economy of Popular Music in Uganda  
M. Leslie Santana (November 2019) (E), Las Transformistas: Performing Race and Sex in Post-Socialist Cuba  
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  
Daniel Walden (T), (November 2019) The Politics of Tuning and Temperament: Transnational Exchange and the Production of Music Theory in 19th-Century Europe, Asia, and North America

**2018**

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, 1685-1750

**2017**

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

**2016**

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 (H)(November 2015) Incorporating Haydn’s minuets. Towards a Soatic Theory of Music  
John Arthur Gabriel (H) 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 (H) Soviet and American Cold War Ballet Exchange, 1959–196”  
Jonathan Sanjeev Withers (E) Kurdish Music-Making in Istanbul: Music, Sentiment, and Ideology in a Changing Urban Context  
Micah Wittmer (H) (November 2015) Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925–1939)

**2015**

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

**2014**

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 (T) (November 2013) Arts of Noise: Sound and Media in Milan ca. 1900

**2013**

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  
DA 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

**2012**

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

**2011**

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

**2010**

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

**2009**

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

**2008**

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

**2007**

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

**2006**

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

**2005**

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*

**2004**

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  
Stephanie Treloar (H) (November 2003) The Madrigals of Giaches de Wert: Patrons, Poets and Compositional Procedures  
Richard Whalley (C) *A Wisp of Spring Cloud*

**2003**

Arni Ingolfsson (H) ‘These Are The Things You Never Forget’: The Written and Oral Traditions of Icelandic Tvísöngur  
Roe-Min Kok (H) Romantic Childhood, Bourgeois Commercialism and the Music of Robert Schumann  
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

**2002**

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

**2001**

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

**2000**

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

**1999**

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 Peopl*e—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

**1998**

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

**1997**

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

**1996**

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

**1995**

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

**1994**

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*

**1993**

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

**1992**

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

**1991**

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

**1990**

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

**1989**

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

**1988**

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*

**1987**

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

**1986**

Cave III, 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

**1985**

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

**1984**

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

**1983**

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

**1982**

Adams, John Clement (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

**1981**

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

**1980**

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

**1979**

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

**1978**

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

**1977**

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

**1976**

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

**1975**

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

**1974**

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

**1973**

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

**1972**

Adams, Frank John (F. John) (H) The place of the piano concerto in the career of Mozart: Vienna, 1782-86  
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

**1971**

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

**1970**

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

**1969**

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

**1968**

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

**1966**

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.

**1965**

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

**1964**

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

**1963**

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

**1962**

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

**1961**

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.

**1960**

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)

**1959**

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.

**1958**

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

**1957**

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

**1956**

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