13/02/07 MTO Dissertation Index www.mtosmt.org/mto-dissertations.php?showall=true 1/12 Dissertation Index All Dissertations | See New Dissertations 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 Akpakpan. Johnson James Contemporary Compositional Approach To The Creation Of Ekpo Spirit-Manifest Music Of The Annang People Department of Music, Faculty of Arts Nnamdi Azikiwe University, Awka December 2011 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 Argentino, Joe R Transformations and Hexatonic Tonnetz Spaces in Late Works of Schoenberg The University of Western Ontario February 2010 Arndt, Matthew Schenker and Schoenberg on the Tone and the Genius University of Wisconsin– Madison August 2008 Arthurs, Daniel J. Reconstructing Tonal Principles in the Music of Brad Mehldau Indiana University, Bloomington May 2011 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 Attas, Robin E.S. Meter as Process in Groove-Based Popular Music The University of British Columbia April 2011 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 Austin, Michael L The Phenomenological Impact of Interface on the Analysis of Digital Music and Sonic Art University of Texas at Dallas June 2011 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 Balter, Tamara A Theory of Irony in Music: Types of Irony in the String Quartets of Haydn and Beethoven. Indiana University, Bloomington (Music Theory) November 2009 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 Rhetoric as a Heuristic in the First Movement of Beethoven's Third Sonata for Violoncello and February MTO Home Current Issue Previous Issues Submit Jobs Dissertations Events Webinars About Links SMT
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Beaudoin, Paul ERhetoric as a Heuristic in the First Movement of Beethoven's Third Sonata for Violoncello andPiano, op. 69
Brandeis UniversityFebruary2002
Bell, Vicki P.Shaker Music Theory: The Nineteenth-Century Treatises of Isaac Newton Youngs and RusselHaskell
University of Kentucky May 1998
Benoit, John R. An Alternative Model of Fundamental Structure in Selected Lieder by Franz SchubertThe University of Texas at
Austin
August
1994
Berry, David
CarsonStravinsky'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 ChicagoAugust2004
Biamonte, NicoleV
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 AccentologiesKing'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
December1999
Bor, MustafaContour Reduction Algorithms: A Theory of Pitch and Duration Hierarchies for Post-Tonal
Music
University of British
ColumbiaApril 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 MichiganSeptember1993
Brasky, Jill Tovah'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg'sGurrelieder
University of Buffalo May 2005
Brass, Christophe La basse fondamentale dans le Clavier bien tempéré de J. S. BachUniversité 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,
BellaVivaldi'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, LucaTheory 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-
MadisonMay 2001
Buchler, Michael
H.
Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class
SimilarityEastman School of Music
October
1997
Buehrer,Theodore E.
An Alternative Pedagogical Paradigm for Aural Skills: An Examination of ConstructivistLearning Theory and its Potential for Implementation into Aural Skills Curricula
Indiana UniversityDecember1998
Buhler, JamesInformal Music Analysis: A Critique of Formalism, Semiology, and Narratology As Discourses onMusic
University of Pennsylvania May 1996
Burkett, LynEllen Thornblad
Tensile Involvement: Counterpoint and Compositional Pedagogy in the Work of Seeger,Hindemith, and Krenek
Indiana University April 2001
Burns, KristineH.
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 PracticeRoyal Holloway,
University of LondonJune 2007
Cahn, Steven J.Variations in Manifold Time: Historical Consciousness in the Music and Writings of Arnold
SchoenbergSUNY at Stony Brook
August
1996
Cairns, Zachary
A.Multiple-Row Serialism in Three Works by Edison Denisov
University of Rochester
(Eastman School ofMusic)
April 2010
Campbell,
Edward Boulez and Expression: A Deleuzoguattarian Approach University of Edinburgh June 2000
Capuzzo, GuyVariety Within Unity: Expressive Ends and their Technical Means in the Music of Elliott Carter,1983-1994
AtaraCantabile in the Romantic Piano Concerti with Emphasis on Schumann, Liszt and Brahms Bar Ilan University
November
2006
Iverson, Jennifer Historical Memory and György Ligeti's Sound-Mass Music, 1958-1968University of Texas at
AustinMay 2009
Jacobus-Freund,
Suzanne A.
The Art of Development: Development and the Development section Seen Through the Eyes of
Theorists, ca. 1775-1830Yale University May 1998
Jardim, Antonio Music: another density of real - to a philosophy of a substantive languageConservatorio Brasileiro
de MusicaMarch 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 UniversityNovember
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. MelvinE
Key Classes and Textural Dissonance: An Instrument-Specific Study of the Idioms, Textures, andStructures of Selected Early Romantic Music for the Guitar (1799-1850)
Indiana UniversityAugust2004
Judd, CristleCollins
Aspects of Tonal Coherence in the Motets of JosquinKing's College, Universityof London
January1993
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 PerformanceUniversity of BritishColumbia
May 2008
Kahr, Michael Aspects of Context and Harmony in the Music of Clare Fischer University of Sydney March 2009
Karamahmutoglu,
GulayNr: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 AnalysisUniversity of California,Santa Barbara
December2003
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. 35University of Wisconsin-
Madison
December
1996
Kinton, Leslie A Documentary Study and Schenkerian Analysis of Dvořák’s Symphony in D minor, op. 70 University of TorontoNovember2008
Kizas, Andrew J.From Octatonicism to Dodecaphony: A Study of Pitch Organization in Selected Works byDonald Martino
University of WesternOntario
December2004
Klein, MichaelA 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 MusicSeptember1997
Konstantinou,
ElenaNikos 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 WorkshopGraduate 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, TuireSet-Class and Chord: Examining Connection between Theoretical Resemblance and Perceived
Closeness Sibelius AcademyNovember
2001
Kwan, Kenneth Compositional Design in Recent Works of Chou Wen Chung SUNY BuffaloSeptember
Palombini, C. V. Pierre Schaeffer's Typo-Morphology of Sonic Objects University of DurhamSeptember1992
Pausina, Melissa
A"Bartleby": An Intertextual Music Drama. Temple University
January
2010
Perlman, Marc A. Unplayed Melodies: Music Theory in Postcolonial Java Wesleyan UniversityAugust1993
Petrocelli, Paolo William Walton and the Violin Concerto in England between the 1900 and 1940 University of RomeDecember
2007
Polyvios,Androutsos
Development and Experimental Implementation of a Model of Teaching the History of Music inSecondary Education
Aristotle University ofThessaloniki
December2002
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, ÈveToward a general theory of polymeter: Polymetric potential and realization in Elliott Carter's soloand chamber instrumental works after 1980
City University of NewYork
September2008
Power, Richard S. An Analysis of Transformation Procedures in Gyorgy Ligeti's String Quartet No. 2University of Illinois at
Urbana-ChampaignJuly 1995
Powles, JonathanC.
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 NewcastleJanuary
1999
Quaglia, Bruce,W.
Compositional Practice and Analytic Technique; Schoenberg’s Atonal Works: ReconcilingApproaches to Sets, Lines and Developing Variation
University of UtahOctober1998
Raickovich, Milos Einstein on the Beach" by Philip Glass: A Musical AnalysisCity University of New
YorkMay 1994
Randall, RichardR.
A General Theory of Comparative Music AnalysisUniversity of Rochester,Eastman School of Music
May 2006
Reddick, Carissa
A
Formal Fusion and Rotational Overlap in Sonata Forms from the Chamber Music of Brahms,
Dvořák, Franck, and GriegUniversity of Connecticut
November
2009
Ricci, Adam A Theory of the Harmonic Sequence
Eastman School of Music,
University of Rochester May 2004
Richards, Mark C. Analyzing Tension and Drama in Beethoven’s First-Movement Sonata Forms University of Toronto April 2011
Richards, William
H.Transformation and Generic Interaction in the Early Serial Music of Igor Stravinsky
University of Western
OntarioJune 2003
Riddick, Frank C. An Analytical Study of Zemlinsky's Second String QuartetUniversity of Colorado,Boulder
May 1994
Rifkin, DeborahTonal Coherence in Prokofiev's Music: A Study of the Interrelationships of Structure, Motives,
and DesignEastman School of Music April 2000
Riley, Matthew JAttentive Listening: The Concept of Aufmerksamkeit and its Significance in German MusicalThought, 1770-1790 University of London June 2000
Rivest, JohanneLe Concert for Piano and Orchestra de John Cage ou les limites de l'indetermination ("JohnCage's Concert for Piano and Orchestra: the limits of indeterminacy")
Universite de MontrealSeptember1996
Robison, Brian
Carl
Carmen arcadiae mechanicae perpetuum: Toward a methodology for analyzing Harrison Birtwistle's
music since 1977Cornell 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, JonathanB
An Analysis of Selected Movements from the Symphonies of Charles Ives Using Linear and SetTheoretical Analytical Models
University of KentuckyOctober1995
Romig, JamesTwelve-Tone Rhythmic Structure and its Application to Form: Time-Point Nesting and Rotationin 'Spin'
Rutgers University April 2000
Rosenberg,Nancy E.
FROM ROCK MUSIC TO THEORY PEDAGOGY:
From Rock Music to Theory Pedagogy: Rethinking U.S. College Music Theory Education from aPopular Music Perspective
Boston UniversityJanuary2010
Rosenhaus,
Steven L.Harmonic Motion in George Perle's Wind Quintet No.4 New York University May 1995
Rothstein, EvanJ.
The Tradition of Developing Variation and the Problem of ‘Folkloristic’ Music in Ives’s FirstViolin Sonata
CExamining Avartan in Khayal University of Pune, India May 2008
Rubin, Anna, I.Forêt Profonde: The Narrative, Sonic and Reception Design of Francis Dhomont's ForêtProfonde
Princeton UniversityJanuary1999
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 StringQuartet (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 StudyUniversity 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 Scaling and Cluster AnalysisIndiana University April 2000
Samuels, Robert Semiotics and Mahler: Analyses of Musical Signification in the Sixth Symphony Cambridge UniversitySeptember1993
Sandell, Gregory,
J.Concurrent Timbres in Orchestration: A Perceptual Study of Factors Determining 'Blend' Northwestern University
December
1991
Santa, MatthewS. Studies in Post-Tonal Diatonicism: A Mod7 Perspective
City University of NewYork 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 UtrechtSeptember2005
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 WashingtonDecember
1995
Scrivener, Julie A. Representations of Time and Space in the Player Piano Studies of Conlon Nancarrow Michigan State University May 2002
Searby, MichaelD
An investigation of the transformation of compositional process in György Ligeti's music 1974-85, with particular reference to pitch
Goldsmiths College.London
July 2006
Seltzer, Linda, A. The Unblinking Eye, Literary Theory in the Analysis of Debussy's Pelleas et Melisande Princeton University 0000
Selvafiorita,
Fabio
Genesi della forma nella Composizione Assistita al Computer: modelli teorici e prospettivepoietiche nel'ambiente di programmazione OpenMusic (Genesis of form in Computer AidedComposition: theoretical models and poietical perspective)
Bologna UniversityJanuary
2007
Sheehan, Paul J.Twelve-Tone Enitities, Inquisitorial Mind, and the Network Model of the Multitude: AnalyzingLuigi Dallapiccola's Il prigioniero
Columbia UniversityNovember2007
Sheinberg, Ester The Semantics Of Irony In ShostakovichUniversity Of Edinburgh,
ScotlandJune 1995
Silberman, PeterS.
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 YorkApril 2001
Smith, KathleenBiddick
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, LarryJoseph
Symmetry as a Determinant of Musical Composition West Virginia UniversityFebruary1973
Spicer, Mark British Pop-Rock Music in the Post-Beatles Era: Three Analytical Studies Yale UniversityDecember2001
Spicker, Volker New Piano ImprovisationUniversity of Giessen,Germany
December1997
Spiegelberg, ScottC.
The Psychoacoustics of Musical Articulation Eastman School of MusicJanuary2002
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
J. Berio, John Cage, and Brian Ferneyhough) New York
Westerhaus,
Andrew JStravinsky and the Ludic Metaphor University of Chicago
December
2012
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 AmsterdamAugust
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 ChicagoAugust1994
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 NottinghamSeptember
2009
Windsor, LukeW. A Perceptual Approach to the Description and Analysis of Acousmatic Music City University, London
September1995
Wright, James K.Schoenberg, Wittgenstein, and the Vienna Circle: Epistemological Meta-Themes in HarmonicTheory, Aesthetics, and Logical Positivism
McGill UniversityFebruary2002
Yorgason, Brent Expressive Asynchrony and Meter: A Study of Dispersal, Downbeat Space, and Metric Drift Indiana UniversityAugust
2009
Yoshikawa,Christine M
Rachmaninoff’s Integrative Technique and Structural Organization: A Schenkerian Analysis ofAllegro 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 WashingtonNovember
2006
Zagalaz, Juan C.Innovaciones melódico - armónicas en la improvisación Jazzística. Un recorrido a través de Body
and Soul. (1935 -1945).Universidad de Jaén
January
2010
Zamzow, BethAnn
The Influence of the Liturgy on the Fifteenth-Century English Carols The University of Iowa May 2000