Archive of Dissertation Abstracts in Music

This archive is maintained by J. P. E. Harper-Scott, partly on the basis of material supplied by Andrew Dell'Antonio. The abstracts relate both to completed dissertations and to those in progress. We would be glad to add further abstracts: please send them in an e-mail message (i.e. simple ASCII text) to or, with a return e-mail address. Abstracts for ethnomusicological dissertations are sought both here and by Ethnomusicology Online: see details at the foot of this page, also for other sources of information on the Web about dissertations and abstracts.

  1. 1.Abel, Jürg Michael, Johann-Wolfgang-Goethe-Universität Frankfurt/Main, 1996: Die Entstehung der sinfonischen Musik in Rußland

  2. 2.Abravaya, Ido, University of Tel Aviv, 2000: Studies of Rhythm and Tempo in the Music of J. S. Bach

  3. 3.Adlington, Robert C., University of Sussex, 1997: Temporality in Post-Tonal Music

  4. 4.Appelt, Carol R., Monash University, Victoria, Australia, expected 1997: Ockeghem's Masses as a View of Modal Practice Using the Theory of Tinctoris as a Measure of Comparison

  5. 5.Attinello, Paul Gregory, University of California, Los Angeles, 1997: The Interpretation of Chaos: A Critical Analysis of Meaning in European Avant-Garde Vocal Music, 1958-68

  6. 6.Atwell, Scott D., Michigan State University, expected 1999: Cadence, Linear Procedures, and Pitch Structure in the Works of Johannes Ockeghem

  7. 7.Barker, Naomi Joy, Royal Holloway, University of London, 1995: Analytical Issues in the Toccatas of Girolamo Frescobaldi

  8. 8.Bhogal, Gurminder Kaur, University of Chicago, 2004: Arabesque and Metric Dissonance in the Music of Maurice Ravel (1905-1914)

  9. 9.Blachly, Alexander, Columbia University, 1995: Mensuration and Tempo in 15th-Century Music: Cut Signatures in Theory and Practice

  10. 10.Brover-Lubovsky, Bella, Hebrew University of Jerusalem, 2001: Vivaldi's Harmony: Practice and Theory

  11. 11.Bruno, Luca, University of Trento, Italy, 2006: Theory and Analysis of Harmony in Adrian Willaert’s Canzone villanesche alla napolitana (1542-1545)

  12. 12.Buhagiar, Spiridion Vincent, Mediterranean Institute, University of Malta, Msida, Malta, 1999: Francesco Azopardi (1748-1809): A Maltese Classical Composer, Theorist, and Teacher

  13. 13.Bunbury, Richard R., University of Massachusetts Amherst, 2001: Justine Ward and the Genesis of the Ward Method of Music Education

  14. 14.Burns, Ellen J., Florida State University, 1994: The Dialectical Structure of W. A. Mozart's Die Zauberflöte: A Phenomenological Analysis

  15. 15.Burns, Kristine H., Ball State University, 1993: The History and Development of Algorithms in Music Composition, 1957-1993

  16. 16.Carpenter, Russell K., University of San Francisco, 1996: Effects of Listening for Key Components in Jazz Pieces: The First Study of Cone's Theory of Ideal Hearing

  17. 17.Champagne, Mario Joseph Serge Gerard, University of North Carolina at Chapel Hill, 1994: The French Song Cycle (1840-1924) with Special Emphasis on the Works of Gabriel Fauré

  18. 18.Chapman, Clive Gilbert, Royal Holloway, University of London, 1981: English Pantomime and its Music, 1700-1730

  19. 19.Chiarelli, Francesca, Royal Holloway, University of London, 1995: "Il Lume Rinchiuso" (The Poetics of the Seconda Prattica): Monteverdi's Fifth, Sixth and Seventh Books of Madrigals

  20. 20.Chrissochoidis, Ilias, Stanford University, 2004: Early Reception of Handel's Oratorios, 1732-1784: Narrative-Studies-Documents

  21. 21.Clark, Alice V., Princeton University, 1996: Concordare cum materia: The Tenor in the Fourteenth-Century Motet

  22. 22.Clements, James, Royal Holloway, University of London, 2002: Aspects of the Ars Rhetorica in the Violin Music of Heinrich Biber (1644-1704)

  23. 23.Cochran, Keith Harris, University of North Carolina at Chapel Hill, 1995: The Genesis of Gaspare Spontini's Agnes von Hohenstaufen: A Chapter in the History of German Opera

  24. 24.Corte-Real, Maria de Sao Jose, Columbia University, 2001: Cultural Policy and Musical Expression in Lisbon in the Transition from Dictatorship to Democracy (1960s-1980s)

  25. 25.Corte-Real Carvalho, Maria de Sao Jose, Columbia University, 1991: Retention of Musical Models: Fado Performance among Portuguese Migrants in New York

  26. 26.Curry, Robert Michael, Monash University, Melbourne, Australia, 2003: Fragments of ars antiqua Music at Stary Sacz and the Evolution of the Clarist Order in Central Europe in the Thirteenth Century

  27. 27.Dairianathan, Eugene I., Nanyang Technological University, Singapore, 1996: Change Articulated by Pitch: A Study of Instrumental Works by Franz Schubert and John Coolidge Adams

  28. 28.Daniels, Jonelle, Royal Holloway, University of London, in progress: The Interaction of Words and Music in the Shakespeare settings of Peter Warlock (Philip Heseltine): Writer/Composer; Score/Performance

  29. 29.Dell'Antonio, Andrew, University of California, Berkeley, 1991: Syntax, Form, and Genre in Sonatas and Canzonas, 1621-1635

  30. 30.Dexter, Keri John, Royal Holloway, University of London, 2000: The Provision of Choral Music at St George's Chapel, Windsor Castle, and Eton College, c.1640-1733

  31. 31.Dickenson, James W., University of Salford, 2003: The Impact of Norwegian Folk Music on Norwegian Jazz, 1945-1995

  32. 32.Dixon, Gavin, Goldsmiths College, University of London, expected 2006: Polystylism as Dialogue: A Bakhtinian Interpretation of Schnittke's Symphonies 3, 4, and his Concerto Grosso No. 4/Symphony No. 5

  33. 33.Doctor, Jennifer R., Northwestern University, 1993: The BBC and the Ultra-modern Problem: A Documentary Study of the British Broadcasting Corporation's Dissemination of Second Viennese School Repertory, 1922-36

  34. 34.Dodds, Michael R., University of Rochester, 1999: The Baroque Church Tones in Theory and Practice

  35. 35.Dolenko, Elena, Moscow State Tchaikovsky Conservatory, Moscow, 2003: Schoenberg: The Early Years [Molodoy Schoenberg]

  36. 36.DuJunco, Mercedes M., University of Washington, 1994: Tugging at the Native's Heartstrings: Nostalgia and the Post-Mao "Revival" of the Xian Shi Yue String Ensemble Music of Chaozhou, South China

  37. 37.Earle, Eugenia, Teachers College, Columbia University, 1979: Improvised Ornamentation in Solo Instrumental Literature of the German Late Baroque: A Study and Lecture Demonstration

  38. 38.Ellis, Sam, University of Wales, Bangor, 2006: Evolution and Retrospection in the Chamber Music of Arthur Bliss

  39. 39.Elsdon, Peter S., University of Southampton, 2001: Keith Jarrett's Solo Concerts and the Aesthetics of Free Improvisation, 1960-1973

  40. 40.Erdahl, Rolf Christian, The Peabody Institute of The Johns Hopkins University, 1994: Edvard Grieg's Sonatas for Stringed Instrument and Piano: Performance Implications of the Primary Source Materials

  41. 41.Fedorovskaya, Natalya, Far-Eastern State Technical University (Russia), 2003: The Role of Rhetoric in the Russian Culture of Spiritual Singing in the Seventeenth and Eighteenth Centuries (by the Example of a Repentance Theme)

  42. 42.Filkins, Joanne M., University of Kentucky, 1994: The Horn Music of Bernhard Heiden

  43. 43.Fink, Robert Wallace, University of California, Berkeley, 1994: Arrows of Desire: Long-Range Linear Structure and the Transformation of Musical Energy

  44. 44.Finney, Ian James, Royal Holloway and Bedford New College, University of London, 1988: The String Quartets of Vagn Holmboe

  45. 45.Flamm, Christoph, Ruprecht-Karls-Universität Heidelberg, 1995: Der russische Komponist Nikolaj Metner: Studien und Materialien

  46. 46.Fleming, Bonnie E., University of Kansas, 1998: Chamber Music for Single Instrument and Piano by Sir Charles Hubert Hastings Parry (1848-1918)

  47. 47.Fleming, Michael, The Open University (Milton Keynes, UK), 2001: Viol-Making in England c1580-1660

  48. 48.Franklin, John Curtis, University of London, University College, forthcoming (expected 2002): Terpander: the Invention of Music in the Orientalizing Period

  49. 49.Freis, Wolfgang, University of Chicago, 1992: Cristóbal de Morales and the Spanish Motet in the First Half of the Sixteenth Century: An Analytical Study of Selected Motets by Morales and Competitive Settings in SEV-BC 1 and TARAZ-C 2-3

  50. 50.Friedmann, Susana, King's College, University of London, 1996: The Festive Song Repertory of the Barbacoas, Colombia, and its Implications for Ballad Transmission

  51. 51.Fuhrmann, Wolfgang, University of Vienna, expected 2001: "Miserere mei": Studien zur Geschichte musikalischer Subjektivität ("Miserere mei: Studies on the History of Musical Subjectivity)

  52. 52.Fulias, Ioannis, National and Kapodistrian University of Athens, 2005: Slow Movements in Sonata Forms in the Classic Era: A Contribution to the Evolution of Genres and Structural Types through the Works of Haydn, Mozart, and Beethoven

  53. 53.Gallo, Denise P., The Catholic University of America, 1997: Giovanni Pacini's "Giuditta": The Dramatic Possibilities of the Oratorio

  54. 54.Gibson, Lorna A. C., Royal Holloway, University of London, 2005: Beyond Jerusalem: Music in the Women's Institute, 1919-1969

  55. 55.Gibson, Robert Raphael, University of Oxford, 2004: Parody Lost and Regained: Richard Strauss's Double Voices

  56. 56.Gillespie, Joseph Norman, Royal Holloway College, University of London, 1982: The Life and Work of Henry Carey (1687-1743)

  57. 57.Goldsmith, Melissa Ursula Dawn, Louisiana State University, 2001: Alban Berg's Filmic Music: Intentions and Extensions of the Film Music Interlude in the Opera Lulu

  58. 58.Goodman, Elaine Claire, Royal Holloway, University of London, 2000: Analysing the Ensemble in Music Rehearsal and Performance: The Nature and Effects of Interaction in Cello-Piano Duos

  59. 59.Green, Rebecca, University of Toronto, 1995: Power and Patriarchy in Haydn's Goldoni Operas

  60. 60.Green, Shannon L., University of Wisconsin-Madison, expected 1997: "Sing and You'll Be Good": Music at Hull-House and other Social Settlement Houses

  61. 61.Gresser, Clemens, University of Southampton, 2004: (Re-)Defining the Relationships between Composer, Performer and Listener: Earle Brown, John Cage, Morton Feldman and Christian Wolff

  62. 62.Grogan, Christopher Philip, Royal Holloway, University of London, 1989: Aspects of Elgar's Creative Process in The Apostles (op. 42), with Particular Reference to Scene ii -- "By the Wayside"

  63. 63.Gunderson, Terence S., University of Northern Colorado, 1992: A Pedagogical Approach to Solo Jazz Vibraphone developed through an Analysis of Common Performance Practice

  64. 64.Gustavson, Royston Robert, University of Melbourne, 1998: Hans Ott, Hieronymus Formschneider, and the Novum et insigne opus musicum (Nuremberg, 1537-1538)

  65. 65.Hafner, Everett, University of Massachusetts, Amherst: Time Divided: Invariance of Proportion in Orchestral Performance

  66. 66.Halsell, George Kay, The University of Texas at Austin, 1989: North Italian Sacred Ensemble Music of the First Third of the Seventeenth Century calling for Participation by One or More Trombones: An Annotated Anthology with Historical Introduction and Commentary

  67. 67.Harley, Maria Anna, McGill University, Montréal, 1994: Space and Spatialization in Contemporary Music: History and Analysis, Ideas and Implementations

  68. 68.Haste, Amanda, Bristol University, 2008: The Role of Music in Twenty-First-Century Anglican Monasticism

  69. 69.Hebbert, Ben, University of Oxford (St Cross College), in progress: The English Music Trade, c.1647--c.1725

  70. 70.Heller, Wendy, Brandeis University, 1995: Chastity, Heroism, and Allure: Women in the Opera of Seventeenth-Century Venice

  71. 71.Herzog, Silvia, University of Southern California, 1996: Strophic Discourse and Stefano Landi's La morte d'Orfeo: Syntax in Music and Poetry During the cinquecento and seicento

  72. 72.Hibberd, Kristian Philip Gordon, Goldsmiths College, University of London, 2005: Shostakovich and Bakhtin: A Critical Investigation of the Late Works (1974-1975)

  73. 73.Hornby, Emma, Oxford University, 1998: A Study of the Eighth-Mode Tracts in the Gregorian and Old Roman Traditions

  74. 74.Hoyt, Trevor, University of North Carolina at Chapel Hill, in progress: The Genesis of Beethoven's String Quartet in E-Flat Major, Op. 127

  75. 75.James, Kenneth Edward, Royal Holloway College, University of London, 1987: Concert Life in Eighteenth-Century Bath

  76. 76.Jensen, Karen Marjorie, Royal Holloway College, University of London, 1981: A Study of Extended Vocal Techniques with Particular Reference to Practical and Compositional Usage since 1972

  77. 77.Jones, Tristan David, University of Birmingham, 2000: Passions in Perspective: An Analytical Discussion of the Three Passion Settings of Heinrich Schütz (1585-1672) against their Historical and Stylistic Backgrounds

  78. 78.Kardamis, Konstantinos, Ionian University, 2006: The "Pre-Solomian" Nikolaos Halikiopoulos Mantzaros and his Work

  79. 79.Kertz-Welzel, Alexandra, Universität des Saarlandes, Saarbrücken, 2001: Die Transzendenz der Gefühle: Beziehungen zwischen Musik und Gefühl bei Wackenroder/Tieck und die Musikästhetik der Romantik

  80. 80.Key, Susan, University of Maryland at College Park: "Sweet Melody Over Silent Wave": Depression-Era Radio and the American Composer

  81. 81.King, Jonathan, Oxford University, 1996: Texting in Early Fifteenth-Century Sacred Polyphony

  82. 82.Kisby, Fiona, Royal Holloway, University of London, 1996: The Early-Tudor Royal Household Chapel in London, 1485-1547

  83. 83.Konov, Yavor, State Academy of Music "Pancho Vladigerov", Sofia, 1997: The first harpsichord treatise "Les Principes du Clavecin" by Saint Lambert (Paris, 1702)

  84. 84.Konye, Paul, University of Kentucky, 1997: Twentieth-Century Nigerian Art Music: Social, Political, and Cultural Factors Involved in its Evolution and Practice

  85. 85.Korstvedt, Benjamin Marcus, University of Pennsylvania, 1995: The First Edition of Anton Bruckner's Fourth Symphony: Authorship, Production and Reception

  86. 86.Kuehn, Frank Michael Carlos, Rio de Janeiro, Universidade Federal do Rio de Janeiro (UFRJ), 2004: Antonio Carlos Jobim, a Sinfonia do Rio de Janeiro e a Bossa Nova: caminho para a construção de uma nova linguagem musical [Antonio Carlos Jobim, the Symphony of Rio de Janeiro and the Bossa Nova: the Path to the Construction of a New Musical Language]

  87. 87.Kulezic-Wilson, Danijela, University of Ulster, 2005: Composing on Screen: The Musicality of Film

  88. 88.Lee, Carolyn Ruby, Royal Holloway College, University of London, 1980: Spanish Polyphonic Song c. 1460 to 1535

  89. 89.Lee-De Amici, Beth Anne, University of Pennsylvania, in progress (expected June 1999): "Ad Sustentacionem Fidei Christiani": Sacred Music and Ceremony in Medieval Oxford

  90. 90.LeGuin, Elisabeth, University of California, Berkeley, 1997: "As My Works Show Me to Be": Physicality as Compositional Technique in the Instrumental Music of Luigi Boccherini

  91. 91.Lehr, Hartwig, Hochschule für Musik und Darstellende Kunst, Frankfurt am Main, 1995: Musik für ... : Untersuchungen zum Werk Rudi Stephans

  92. 92.Lerch, Alexander, Technische Universität Berlin, 2008: Software-Based Extraction of Objective Parameters from Music Performances

  93. 93.Leven-Keesen, Kathrin, Georg-August Universität Göttingen, 1996: Robert Schumanns "Szenen aus Goethes Faust" (WoO 3): Studien zu Frühfassungen anhand des Autographs Wiede 11/3

  94. 94.Levidou, Ekaterini, University of Oxford, 2008: The Encounter of Neoclassicism with Eurasianism in Interwar Paris: Stravinsky, Suvchinsky, and Lourié

  95. 95.Lloyd, Angela, Royal Holloway, University of London, 1996: Modal Representation in the Early Madrigals of Cipriano de Rore

  96. 96.Lloyd, Catherine, King's College, London, 2002: Ars Antiqua -- Ars Nova

  97. 97.Lloyd, Richard G. C., Royal Holloway, University of London, 2000: Provision for Music in the Parish Church in Late-Medieval London

  98. 98.Lundberg, Mattias, The University of Liverpool, in progress (expected 2005): The Tonus Peregrinus in the Polyphony of the Western Church

  99. 99.Lynan, Peter R., Oxford University (St Edmund Hall), 1997: The English Keyboard Concerto in the Eighteenth Century

  100. 100.Mabary, Judith Ann, Washington University - St Louis, 1999: Redefining Melodrama: The Czech Response to Music and Word

  101. 101.McClatchie, Stephen C., University of Western Ontario, 1994: Alfred Lorenz as Theorist and Analyst

  102. 102.McClellen, Michael Edward, University of North Carolina at Chapel Hill, 1994: Battling Over the Lyric Muse: Expressions of Revolution and Counterrevolution at the Théâtre Feydeau, 1789-1801

  103. 103.mcclung, bruce d., Eastman School of Music, 1995: American Dreams: Analyzing Moss Hart, Ira Gershwin, and Kurt Weill's Lady in the Dark

  104. 104.Mackay, Lisa, Monash University, Melbourne, Australia, expected 1998: The Salve Regina Settings in the Eton College Choirbook

  105. 105.Maiani, Brad, University of North Carolina at Chapel Hill, 1996: The Responsory-Communions: Toward a Chronology of Selected Proper Chants

  106. 106.Manning, David, Cardiff University, 2003: Harmony, Tonality and Structure in Vaughan Williams's Music

  107. 107.Marín, Miguel Ángel, Royal Holloway, University of London, 1999: Music and Musicians in Provincial Towns: The Case of Eighteenth-Century Jaca (Spain)

  108. 108.Marrington, Mark D., University of Leeds, 2002: Extra-Musical Influences and Musical Style in the Works of Denis ApIvor

  109. 109.Marsh, Malcolm Herbert, Royal Holloway College, University of London, 1983: The Turn of the Screw: Britten's and Piper's Operatic Fulfilment of Henry James's Novella

  110. 110.Matsumoto, Naomi, Goldsmiths College, University of London, 2005: The Origins of the Operatic Mad Scene and its Early Development up to c1700

  111. 111.Matveyeva, Elena, Moscow State Conservatoire, 2000: Joseph Haydn's Musical Theatre

  112. 112.Mehrens, Christopher E., University of North Carolina at Chapel Hill, in progress: From Wonderland to Poictesme: The Antimodernism of Deems Taylor

  113. 113.Mirchandani, Sharon, Rutgers, The State University of New Jersey, 1997: Ruth Crawford Seeger's Five Songs, Suite No. 2, and Three Chants: Representations of America and Explorations of Spirituality

  114. 114.Mitsopoulou, Evangelia I., University of Macedonia of Thessaloniki, 2010: Dante as Source of Inspiration for Franz Liszt: Dante Symphony and Its Pianistic Transcriptions.

  115. 115.Muir, Theresa, City University of New York, 1997: Wagner in England: Four Writers before Shaw

  116. 116.Naude, Janet J., University of Cape Town, 1997: Lulu, Child of Wozzeck and Marie: Towards an Understanding of Alban Berg, "Master of the Smallest Link", through his Vocal and Dramatic Music

  117. 117.Nelson, Mark D., Princeton University, 1995: Quieting the Mind, Manifesting Mind: the Zen Buddhist Roots of John Cage's Early Chance-Determined and Indeterminate Compositions

  118. 118.Nelson, Thomas K., University of Minnesota, 1998: The Fantasy of Absolute Music

  119. 119.Nivans, David, University of California, Los Angeles, 1992: Brahms and the Binary Sonata: A Structuralist Interpretation

  120. 120.Nosow, Robert Michael, University of North Carolina at Chapel Hill, 1992: The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy

  121. 121.Novak, John K., University of Texas at Austin, 1994: The Programmatic Orchestral Works of Leos Janacek: Their Style and their Musical and Extramusical Content

  122. 122.Oelmann, Klaus Henning, Gesamthochschule/Universität Kassel, 1992: Edvard Grieg: Versuch einer Orientierung

  123. 123.O'Shea, Patrick Michael, Arizona State University, 1995: A Stylistic and Structural Analysis of Russell Woollen's "La Corona"

  124. 124.Owens, Samantha K., Victoria University of Wellington, New Zealand, 1995: The Württemberg Hofkapelle c.1680-1721

  125. 125.Paget, Laurie, Royal Holloway, University of London, 1995: The Madrigals of Marc'Antonio Ingegneri

  126. 126.Pakusa, Peter, Universität Hamburg, 1991: Jenseits der zwölf Töne: Untersuchungen an neuerer Vokalmusik unter besonderer Berücksichtigung von Vierteltonkompositionen

  127. 127.Palombini, Carlos, University of Durham, 1993: Pierre Schaeffer's Typo-Morphology of Sonic Objects

  128. 128.Parmley, Andrew Charles, Royal Holloway, University of London, 1988: The Pastorales, Intermèdes, and Incidental Music of Marc-Antoine Charpentier

  129. 129.Parsons, James, University of North Texas, 1992: Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven's Choral Symphony

  130. 130.Pearson, Ingrid Elizabeth, University of Sheffield, 2001: Clarinet Embouchure in Theory and Practice: The Forgotten Art of Reed-Above

  131. 131.Pederson, Sanna, University of Pennsylvania, 1995: Enlightened and Romantic German Music Criticism, 1800-1850

  132. 132.Peraino, Judith Ann, University of California, Berkeley, 1995: New Music, Notions of Genre, and the "Manuscrit du Roi" circa 1300

  133. 133.Perry, Susan Cotton, University of Kentucky, 1990: The Development of the Italian Organ Toccata: 1550-1750

  134. 134.Pinegar, Sandra, Columbia University, 1991: Textual and Conceptual Relationships Among Theoretical Writings on Measurable Music during the Thirteenth and Early Fourteenth Centuries

  135. 135.Pocock, Peter G., University of Southern California, 1996: The Choral Music of Hugo Wolf: A Discussion of the Musical and Textual Relationships with Performance Editions for Male Chorus

  136. 136.Potter, Caroline, University of Liverpool, 1995: A la recherche d'Henri Dutilleux

  137. 137.Powers, Doris Bosworth, University of North Carolina at Chapel Hill, 1995: Johann Nikolaus Forkel's Philosophy of Music in the Einleitung to Volume One of His Allgemeine Geschichte der Musik (1788): A Translation and Commentary with a Glossary of Eighteenth-Century Terms

  138. 138.Press, Stephen, University of North Carolina at Chapel Hill, in progress: Prokofiev's Ballets for Diaghilev

  139. 139.Ramanna, Nishlyn, University of KwaZulu-Natal, Durban, 2005: Jazz as Discourse: A Contextualised Account of Contemporary Jazz in Post-Apartheid Durban and Johannesburg

  140. 140.Ratcliffe, Martin, Royal Holloway, University of London, 1998: Robert Simpson's Third Symphony: Sources and Influences

  141. 141.Raub, Jennifer, Royal Holloway, University of London, in progress: "Sarum" Liturgical Printing in Tudor London: A Study and Catalogue

  142. 142.Rawson, Robert G., Royal Holloway, University of London, 2002: From Olomouc to London: The Early Music of Gottfried Finger (c 1655-1730)

  143. 143.Reeve, Robert Gilbert, Royal Holloway College, University of London, 1980: The Life and Works of William Mundy

  144. 144.Reid, Stefan, Royal Holloway, University of London, in progress: The Art of Good Practice: Analysis of Effective Rehearsal and its Role in Individual Musical Development

  145. 145.Reinhardt, Lauriejean, University of North Carolina at Chapel Hill, 1995: From Poet's Voice to Composer's Muse: Text and Music in Webern's Jone Settings

  146. 146.Reuter, Christoph, Universität Köln, 1996: Die auditive Diskrimination von Orchesterinstrumenten

  147. 147.Reyland, Nicholas W., Cardiff University of Wales, 2005: "Akcja" and Narrativity in the Music of Witold Lutoslawski

  148. 148.Ridding, Josepha, University of Kingston (UK), 2003: Cultural Considerations of Rubato in Czech Piano Performance, with Specific Reference to Chopin's Works

  149. 149.Ridgewell, Rupert M., Royal Holloway, University of London, 1999: Mozart and the Artaria Publishing House: Studies in the Inventory Ledgers, 1784-1793

  150. 150.Riley, Matthew, Royal Holloway, University of London, 2000: Attentive Listening: The Concept of Aufmerksamkeit and its Significance in German Musical Thought, 1770-1790

  151. 151.Rischar, Richard, University of North Carolina at Chapel Hill, 2000: One Sweet Day: Vocal Style in African-American Popular Ballads, 1991-1995

  152. 152.Roper, Eleanor Jane, University of London, King's College, 2004: A Study of Public and Private Spheres in the Musical Culture of Sixteenth-Century Leipzig

  153. 153.Rose, Stephen, University of Cambridge, 2002: Music, Print and Authority in Leipzig during the Thirty Years' War

  154. 154.Rutter, Philip, Royal Holloway, University of London, 1993: Paris, Bibliothèque Nationale, fonds latin 1240: A Transcription and Analysis of the Trope Repertoire

  155. 155.Sandell, Gregory John, Northwestern University, 1991: Concurrent Timbres in Orchestration: A Perceptual Study of Factors Determining "Blend"

  156. 156.Sanhuesa Fonseca, Maria, Universidad de Oviedo, 1998: Educación, Pensamiento y Teoría de la Musica en la Espanha del Siglo XVII (Education, Thought and Musical Theory in 17th-Century Spain)

  157. 157.Saunders, James E., Royal Northern College of Music, 1996: The Final Frontier: The Development of Polytempo in the Music of Conlon Nancarrow

  158. 158.Schiller, Caroline, Florida State University, 2001: A Performer's Guide to Works for Soprano Voice by Canadian Women Composers

  159. 159.Schlagel, Stephanie P., University of North Carolina at Chapel Hill, 1996: Josquin des Prez and His Motets: A Case-Study in Sixteenth-Century Reception History

  160. 160.Schlosser, Milton, University of Alberta, Edmonton, 1995: Queer Effects, Wilde Behaviour: Frederic Rzewski's "De Profundis"

  161. 161.Schmitt Scheubel, Robert, Technische Universität Berlin, 1994 (expected to be published 1997): Johann Ludwig Dussek im Spiegel der deutschen, französischen und englischen Tagespresse seiner Zeit, nebst Verzeichnis seiner in Berliner Bibliotheken befindlichen Werke, der auffindbaren Autographen, Handschriften und Schallaufnahmen

  162. 162.Shaw, A. Timothy, Royal Holloway, University of London, 2000 (forthcoming): Reading the Liturgy at Westminster Abbey in the Late Middle Ages

  163. 163.Sheinberg, Esti, University of Edinburgh, 1997: Irony, Parody, Satire and The Grotesque in the Music of Dmitri Shostakovich

  164. 164.Shinnick, Emilie Julia Wingo, University of Texas at Austin, 1997: The Manuscript Assisi, Biblioteca del Sacro Convento, MS 695: A Codicological and Repertorial Study

  165. 165.Solomon, Larry, West Virginia University, 1973: Symmetry as a Compositional Determinant

  166. 166.Springthorpe, Nigel Richard, University of Surrey, 1997: Passion Composition and Composers of Passion Music associated with the Court of Anhalt-Zerbst

  167. 167.Stapleton, Karl, University of Birmingham, 2003: Czech Music Culture in Prague 1858-1865

  168. 168.Stoffel, Lawrence, Indiana University, 1999: Promotion of the Concert Band as an Artistic Medium through Recordings: An Annotated Discography

  169. 169.Stonehouse, Alison, University of Western Ontario: French Attitudes Towards Metastasio as Poet and Dramatist in the Second Half of the Eighteenth Century

  170. 170.Stoupakis, Alexandros, National and Kapodestrian University of Athens, expected 2002: Life and Works of Martino Pesenti (c.1600-c.1648)

  171. 171.Sundin, Nils-Göran, University of Jyväskylä, 1994: Aesthetic Criteria for Musical Interpretation: A Study of the Contemporary Performance of Western Notated Instrumental Music after 1750

  172. 172.Taylor-Jay, Claire Patricia, University of Southampton, 1999: Politics and the Ideology of the Artist in the Künstleropern of Pfitzner, Krenek and Hindemith

  173. 173.Thöne, Raphael D., Universität für Musik und darstellende Kunst Wien/Universität Wien, 2007: Zum symphonischen Schaffen Malcolm Arnolds

  174. 174.Thomson, Susan Nichols, University of North Carolina at Greensboro, 1999: The Solo Piano Music of Lukas Foss

  175. 175.Toliver, Brooks, University of California, Los Angeles, 1994: Debussy After Symbolism: The Formation of a Nature Aesthetic, 1901-1913

  176. 176.Tomas, Lia, Catholic University of São Paulo, 1998: De musica: contribuições para a elaboração de uma nova teoria musical (De Musica: Contributions toward a New Theory of Music)

  177. 177.Torrente, Alvaro, University of Cambridge, 1997: The Sacred Villancico in Early Eighteenth-Century Spain: The Repertory of Salamanca Cathedral

  178. 178.Trantham, Gene Starr, University of Wisconsin-Madison, 1991: Toward a Theory of the Music of Girolamo Frescobaldi developed through Computer-Assisted Analysis of Selected Works

  179. 179.Traupman, Carol A., Cornell University, 1995: I dimenticati: Italian Comic Opera in the Mid-Nineteenth Century

  180. 180.Upton, Elizabeth Randell, University of North Carolina at Chapel Hill, 2001: The Chantilly Codex (F-Ch 564): The Manuscript, Its Music, Its Scholarly Reception

  181. 181.Vachon, Pierre, Université de Montréal, expected May 1998: Papillons, Carnaval, Davidsbündlertänze et Kreisleriana de Robert Schumann: étude des titres, de leur signification et incidence sur la facture des oeuvres

  182. 182.Väisälä, Olli, Sibelius Academy, Helsinki, 2004: Prolongation in Early Post-Tonal Music: Analytical Examples and Theoretical Principles

  183. 183.Valdez, Stephen Kenneth, University of Oregon, 1992: The Development of the Electric Guitar Solo in Rock Music, 1954-1971

  184. 184.Valent, Eleonora, Università "La Sapienza", Rome, 1998: The Spectacle of Sounds: Lully's and Charpentier's Stage Music for "Le Bourgeois Gentilhomme" and "Le Malade Imaginaire"

  185. 185.Vlastos, George, National and Kapodistrian University of Athens, 2005: The Conception of Greek Antiquity in Early 20th-Century French Music, 1900-1918

  186. 186.Wakelin, Emma Hilary, Royal Holloway, University of London, 1997: De Floridi Virtuosi d'Italia: A Study of Three Italian Madrigal Anthologies of the 1580s

  187. 187.Warfield, Scott Allan, University of North Carolina at Chapel Hill, 1995: The Genesis of Richard Strauss's Macbeth

  188. 188.Welzel, Martin, University of Washington, 2005: Jeanne Demessieux (1921-1968): A Critical Examination of her Life

  189. 189.Wiering, Frans, University of Amsterdam, 1995: The Language of the Modes: Studies in the History of Polyphonic Modality

  190. 190.Wilde, Howard, Royal Holloway, University of London, 1995: Towards a New Theory of Voice-Leading Structure in Sixteenth-Century Polyphony

  191. 191.Wilkinson, Edward Nigel, Royal Holloway College, University of London, 1983: Theory and Practice: An Interpretation of Serialism in the Music of Luigi Dallapiccola

  192. 192.Williamon, Aaron, Royal Holloway, University of London, 1999: Preparing for Performance: An Examination of Musical Practice as a Function of Expertise

  193. 193.Willner, Channan, City University of New York, 2005: Durational Pacing in Händel's Instrumental Works: The Nature of Temporality in the Music of the High Baroque

  194. 194.Wilson, Alexandra May, Royal Holloway, University of London, 2002: The Puccini Problem: Nationalism, Gender and Decadence in Italian Puccini Reception, 1896-1912

  195. 195.Wilton, Peter J. S., Royal Holloway, University of London, 1998: The Transmission of the Alleluia Prosula: Stability, Variation and Change

  196. 196.Windsor, W. Luke, City University, 1995: A Perceptual Approach to the Description and Analysis of Acousmatic Music

  197. 197.Zanovello, Giovanni, Princeton University, 2005: Heinrich Isaac, the Mass "Misericordias Domini", and Music in Late-Fifteenth-Century Florence

  198. 198.Zeiss, Laurel E., University of North Carolina at Chapel Hill, in progress: Accompanied Recitative in Mozart's Operas

  199. 199.Zobel, Mark Alan, University of Colorado at Boulder, 2005: "Music Close to the Soil and Deeply Felt": The Use of American Hymn Tunes in Charles Ives's Third Symphony

  200. 200.Zohn, Steven, Cornell University, 1995: The Ensemble Sonatas of Georg Philipp Telemann: Studies in Style, Genre, and Chronology

See also:

Australian and New Zealand Postgraduate Music Research Register

Doctoral Dissertations in Music Theory (Society for Music Theory, with abstracts)

DDM-Online (Doctoral Dissertations in Musicology-Online, no abstracts)

ProQuest Digital Dissertations (free access to the most recent two years of citations and abstracts in a Dissertation Abstracts database; searches of the entire database, comprising more than 1.6 million titles, must be made from a subscribing institution; titles published since 1997 are available in PDF digital format and have 24 page previews available)

Index to Theses in Great Britain and Ireland (titles and abstracts; site registration is necessary to gain access, but a limited free demo is available)

DMS (Dissertationsmeldestelle der Gesellschaft für Musikforschung (Musicology dissertations submitted in Austria, Switzerland and the German Federal Republic, with occasional entries from other European countries, and including doctoral dissertations in music education since 1998)

Society for Musicology in Ireland Music Theses Register

TheseNet (including free access to all French theses on music since 1972; abstracts are available)

  1. University Microfilms International (UMI: for sales of American theses on microfilm or in hard copy)

Please note also that if you are about to complete an ethnomusicology dissertation, or if you are an advisor supervising one, Ethnomusicology Online publishes enhanced dissertation abstracts, which can be expanded or re-written to incorporate selected details from the dissertation, including colour pictures, maps, diagrams, audio, video, animations, or other multimedia; see Mercedes DuJunco's dissertation in the list above, and contact the editor of EOL, Karl Signell, if you are interested.