| Year |
Name |
Dissertation Title |
| 2011 |
Jessica Bissett Perea
|
The Politics of Inuit Musical Modernities in Alaska
|
|
Gwyneth Bravo |
Staging Death: Allegory in the Operas of Erwin Schulhoff and Viktor Ullmann |
|
Peter Broadwell |
Swashbucklers on Stage: Musical Depictions of Pirates and Bandits in English Theater, 1650-1820 |
|
Ross Fenimore
|
Madonna's Confession: Sound, Self, and Survival in a Love Song |
|
Marcus Desmond Harmon |
Harris/Cash: Identity, Loss, and Mourning at the Borders of Country Music |
|
Julianne Lindberg |
Through the Looking Glass: Child-Inspired Keyboard Albums of the French fin de siecle |
|
Graham Raluerson
|
The Hobo in American Musical Culture |
|
Marianna Ritchey |
Echoes of the Guillotine: Berlioz and the French Fantastic |
|
Eric Wang |
Mistuning the World: A Cultural History of Tuning and Temperament in the Seventeeth Century |
| 2010 |
Stephen Pennington |
Made For Love: Marlene Dietrich, the Comedian Harmonists, and Performances of Gender at the End of the Weimar Republic |
| 2009 |
Ewelina Boczkowska |
Sites of Remembrance: Music and Memory in Polish Films |
| |
Kariann Goldschmitt |
Bossa Mundo: Brazilian Popular Music's, Global Transformations 1938-2008 |
|
Loren Kajikawa |
Centering the Margins: Black Music and American Culture, 1980-2000 |
|
Elizabeth Morgan |
The Virtuous Virtuosa: Women at the Pianoforte in England, 1780-1820 |
|
Marcie Ray |
Opera-Comique Restages the Querelle des Anciens et des Modernes, 1697-1745 |
|
Holley Replogle |
Crossover and Spectacle in American Operatta and the Megamusical |
| 2008 |
Philip Gentry |
The Age of Anxiety: Music, Politics, and McCarthyism, 1948-1954 |
|
Sara Gross |
Keyboard Portraits: Performing Character in the Eighteenth Century |
|
Gordon Haramaki |
Beyond the Seconda Practica: Claudio Monteverdi and the Poetics of Genre After Orfeo |
|
Barbara Moroncini |
Experimental Music after Los Angeles: Site, Power, Self, Sound |
|
Griffin Woodworth |
Just Another One of God's Gifts: Prince, African-American Masculinity, and the Sonic Legacy of the Eighties |
| 2007 |
Jonathan Greenberg |
Singing Up Close: Voice, Language, and Race in American Popular Music, 1925-1935 |
|
Ljubica Ilic |
Music and the Modern Condition: Investigating the Boundaries |
|
Lisa Musca |
The Piano Fragment and the Decomposing of the Musical Subject from the Romantic to the Postmodern |
|
Erica Scheinberg |
Music and the Technological Imagination in the Weimar Republic: Media, Machines, and the New Objectivity |
|
Stephanie Vander Wel |
"I am a Honky-Tonk Girl": Country Music, Gender and Migration |
|
Lawrence Wayte |
Bitches Brood: The Progeny of Miles Davis's Bitches Brew and the Sound of Jazz-Rock |
| 2006 |
Kate Bartel |
Portal of the Skies: Four Scenes in the Musical Life of the Virgin Mary ca. 1500-1650 |
|
Olivia Mather |
"Cosmic American Music": Place and the Country Rock Movement 1965-1974 |
|
Caroline O'Meara |
New York Noise: Music in the Postindustrial City, 1978-1985 |
| 2005 |
Andrew Berish |
Swinging Transcontinental Modernity, Race, Place In American Dance Music, 1930-1946 |
|
J. Lester Feder |
"Song of the South" Country Music, Race, Region, and the Politics of Culture 1920-1974 |
|
Elizabeth Lorenzo |
Opera and the Ordered Nation: Massenet's Esclarmonde In Performance at the 1889 Paris Exposition |
|
Yara Sellin |
DJ: Performer, Cyborg, Dominatrix |
|
Grace Tam |
The Penitential Theology of Henry Purcell as Expressed In His Sacred Songs |
| 2004 |
Maria Cizmic |
Performing Pain: Music and Trauma in 1970s and 80s Eastern Europe |
|
Charles Hiroshi Garrett |
Struggling to Define a Nation: American Music in the Twentieth Century |
|
James Kennaway |
Musical Pathology in the Nineteenth Century: Richard Wagner and Degeneration |
|
Louis Niebur |
Special Sound: Electronic Music in Britian and the Creation of the BBC's Radiophonic Workshop |
|
Cecilia Sun |
Experiments in Musical Performance: Historiography, Politics, and the Post-Cagian Avant-Garde |
| 2003 |
Durrell Bowman |
Permanent Change: Rush, Musicians' Rock, and the Progressive Post-Counterculture |
|
Dale Chapman |
Specters of Jazz: Style, Ideology, and Jazz as Postmodern Practice |
|
Mark Martin |
Jean Sibelius and the Construction of Finnish National Identity |
|
Glenn T. Pillsbury |
Pure Black, Looking Clear: Genre, Race, Commerce, and the Music of Metallica |
|
Nadya Zimmerman |
Sixties Synergy: Musical Strands of the San Francisco Counterculture |
| 2002 |
Bettie Jo Basinger |
Liszt's Symphonic Poems and the "New Manifestation of the Human Spirit" |
|
Francesca Draughon |
Mahler and the Music of Fin-de-siècle Identity |
|
Jacqueline Warwick |
"I Got All My Sisters With Me": Girl Culture, Girl Identity, Girl Group Music |
| 2001 |
Steven Baur |
"Let Me Make the Ballads of a Nation and I Care Not Who Makes Its Laws": Music, Culture, and Social Politics in the United States, c. 1860–1890 |
|
Daniel Goldmark |
Happy Harmonies: Music and the Hollywood Animated Cartoon |
|
Michelle Hill |
The Accompanied Keyboard Sonata: Contributions to the Genre by Women Composers in England ca. 1776-1810 |
|
Marischka Hopcroft |
Franz Liszt as Libidinal Economy of Enjoyment |
|
Maiko Kawabata |
Violin Heroism in the Nineteenth Century |
| 2000 |
Christopher Page |
Leonard Bernstein and the Resurrection of Gustav Mahler |
|
Joni Steshko |
Igor Stravinsky's 1919 Firebird Suite: Critical Edition, Sources, and Commentary |
|
Marissa Soloman-St. Laurant |
The Operas of Paul Wranitzky: Their Position in the Development of German Opera in Vienna, 1789–1808 |
| 1999 |
Nasser Al-Taee |
The Sultan's Seraglio: Fact, Fiction, and Fantasy in 18th Century Viennese "Turkish" Music |
|
Joanne Althouse |
Jose Elias and Late Baroque Organ Music in Spain |
| 1998 |
David Ake |
Being Jazz: Images and Identities |
|
Alison Deadman |
"Augletti che cantate": Handel, his Woodwind players, and his London |
|
Steven Gordon |
Mahler's Seventh Symphony, Modernism and the Crisis of Austrian Liberalism |
|
Bonnie Gritton |
The Pedagogy of Friedrich Wieck |
|
Robert Hutchins |
Polyphonic Mass Music by Some Early 15th Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis, and Hugo de Lantins |
|
Eunah Kong |
Music at the Interface of Cultural Identity: Opera of Korea, 1948 to the Present |
| 1997 |
Guozhong Sun |
Zhu Jian-er's Symphonies: Context, Style, and Significance |
|
Sandra Yang |
The Composer and Dance Collaboration in the 20th Century: Darius Milhaud's Ballets, 1918-1958 |
| 1996 |
Jeongmee Kim |
The Heterophony of Korean-German Musical Culture: A Cultural and Political Examination of Tsang Yum's Music |
|
Margot Martin |
Essential Agréments: Arts, Dance, and Civility in Seventeenth-Century French Harpsichord Music |
| 1995 |
Kay Lipton |
The Opere Buffe of Pietro Alessandro Gugliemi in Vienna and Esterhaza: Contributions to the Developement of Opera Buffa between 1768-1793 |
| 1994 |
Cristina Magaldi |
Concert Life in Rio de Janeiro, 1837-1900 |
|
Blair Sullivan |
Grammar and Harmony: The Written Representation of Musical Sound in Carolingian Treatises |
|
Willie Strong |
Philosophies of African-American Music History |
|
Bonnie Stallings |
Diegetic Music in the Operas of Benjamin Britten: The Case of "Peter Grimes." |
| 1992 |
Craig Custer |
The Russian Choral-Orchestra Cantata from the Beginning of the Nineteenth Century to the Revolution |
|
Ronald Shaheen |
Neoclassical Influences in the Two Versions of Giovanni Simone Mayr's Lodoiska |
| 1991 |
Haiping Hu |
Das Lied Von Der Erde: The Culmination of Mahler's Artistic Life |