Adlington, Robert C. "Temporality in post-tonal
music." University of Sussex, 1996. |
dis.3.1.html
|
Alegant, Brian. "The Seventy-Seven
Partitions of the Aggregate: Analytical and Theoretical Implications."
Eastman School of Music, University of Rochester, 1992. |
mto.93.0.2.dis
|
Anson-Cartwright, Mark. "The
Development Section in Haydn's Late Instrumental Works."
City University of New York, 1998. |
dis.5.3.html
|
BaileyShea, Matthew L. "The Wagnerian Satz: The Rhetoric of the Sentence in Wagner's
Post-Lohengrin Operas."
Yale University, May 2003. |
dis.9.2.html |
Barker, Naomi Joy. "Analytical
Issues in the Toccatas of Girolamo Frescobaldi." Royal Holloway
College, University of London, 1995. |
mto.95.1.5.dis
|
Bauer, Amy M. "Compositional
Process and Parody in the Music of Gyorgy Ligeti." Yale University,
1996. |
dis.2.4.html
|
Beaudoin,
Paul E. "Rhetoric as a Heuristic in the First Movement of Beethoven's
Third Sonata for Violoncello and Piano, op. 69." Brandeis University,
2002. |
dis.7.5.html |
Bell, Vicki P. "Shaker Music
Theory: The Nineteenth-Century Treatises of Isaac Newton Youngs and
Russel Haskell." University of Kentucky, 1998. |
dis.5.1.html
|
Benoit, John R. "An Alternative
Model of Fundamental Structure in Selected Lieder by Franz Schubert."
University of Texas, Austin, 1994. |
mto.94.0.10.dis
|
Berry, David Carson. "Stravinsky's 'Skeletons': Reconnoitering the Evolutionary Paths from
Variation Sets to Serialism."
Yale University, March 2002. |
dis.8.2.html |
Biamonte, Nicole V. "The Modes
in Romantic Music," Yale University, 1998 (projected) |
dis.4.1.html
|
Blom-Smith, Richard N. W. "A Theory of
Accent in Tonal Music with an Assessment of Selected Modern Accentologies."
University of London, 1994. |
dis.7.2.html
|
Boland, Marguerite M. "The All-Trichord Hexachord:
Compositional Strategies in Elliott Carter's 'Con Leggerezza' and 'Gra.'"
La Trobe University, Melbourne, Australia, December 1999. |
dis.8.2.html |
Botelho, Mauro. "Rhythm, Meter,
and Phrase: Temporal Structures in Johann Sebastian Bach's Concertos."
University of Michigan, School of Music, 1993. |
mto.93.0.4.dis
|
Boyd, James W. "Mahler and
Directional Tonality." University of Michigan, 1993. |
mto.93.0.3.dis
|
Brasky, Jill Tovah. "'Far Have I Flown': Chromatic Dominants and Functional Transformations in Schoenberg's
Gurrelieder." University of Buffalo, May 2005 |
diss.11.2.html |
Brass, Christophe. "La
basse fondamentale dans le Clavier bien tempéré de J. S. Bach."
Université Strasbourg II, 2001. |
dis.7.5.html |
Bribitzer-Stull, Matthew P. "Thematic Development and
Dramatic Association in Wagner's Der Ring des Nibelungen." Eastman
School of Music, July 2001. |
dis.8.3.html |
Brover-Lubovsky, Bella. "Vivaldi's Harmony: Practice
and Theory." Hebrew University of Jerusalem, Israel, 2000. |
dis.7.5.html |
Brown, Stephen C. "Dual Interval Space
in Twentieth-Century Music." Yale University, 1999. |
dis.5.4.html
|
Bryden, Kristy A. "Musical Conclusions:
Exploring Closural Processes in Five Late Twentieth-Century Chamber
Works." University of Wisconsin-Madison, 2001. |
dis.7.4.html |
Buchler, Michael H. "Relative
Saturation of Subsets and Interval Cycles as a Means for Determining
Set-Class Similarity," Eastman School of Music, 1997.
|
dis.4.1.html
|
Buehrer, Theodore E. "An Alternative
Pedagogical Paradigm for Aural Skills: An Examination of Constructivist
Learning Theory and its Potential for Implementation into Aural Skills
Curricula," Indiana University, 1998. |
dis.4.2.html
|
Buhler, James. "Informal Music
Analysis: A Critique of Formalism, Semiology, and Narratology As Discourses
on Music." University of Pennsylvania, 1996. |
dis.2.7.html
|
Burkett, Lyn Ellen Thornblad. "Tensile Involvement:
Counterpoint and Compositional Pedagogy in the Work of Seeger, Hindemith,
and Krenek." Indiana University, 2001. |
dis.7.5.html |
Burns, Kristine H. "The History
and Development of Algorithms in Music Composition, 1957-93."
Ball State University, School of Music, 1994. |
mto.94.0.9.dis
|
Burton, Deborah E. "An Analysis
of Puccini's Tosca: a Heuristic Approach to the Unifying Elements
of the Opera." University of Michigan, School of Music, 1994.
|
mto.93.0.2.dis
|
Butterfield, Matthew W. "Jazz Analysis
and the Production of Musical Community: A Situational Perspective."
University of Pennsylvania, 2000. |
dis.6.3.html
|
Cahn, Steven J. "Variations
in Manifold Time: Historical Consciousness in the Music and Writings
of Arnold Schoenberg," SUNY/Stony Brook, 1996. |
dis.4.1.html
|
Campbell, Edward. "Boulez and Expression:
A Deleuzoguattarian Approach." University of Edinburgh, 2000.
|
dis.7.2.html |
Capuzzo, Guy. "Variety Within Unity:
Expressive Ends and their Technical Means in the Music of Elliott
Carter, 1983-1994." Eastman School of Music, 1999. |
dis.6.2.html
|
Carey, Norman, A. "Distribution
Modulo 1 and Musical Scales." University of Rochester, 1998.
|
dis.4.6.html
|
Carter, Chandler. "The Progress
in 'The Rake's' Return. City University of New York, 1995.
|
dis.3.2.htm
|
Castren, Marcus. "RECREL: A
Similarity Measure for Set-Classes." Sibelius Academy, Helsinki,
Finland, 1994. |
mto.95.1.1.dis
|
Castine, Peter. "Set Theory
Objects: Abstractions for Computer-Aided Analysis and Composition
of Serial and Atonal Music." Technische Universitaet Berlin,
1994. |
mto.94.0.7.dis
|
Castine, Peter. Set Theory Objects
(published version) |
mto.94.0.10.dis
|
Cavanagh, Lynn M. "Tonal Multiplicity
in Schoenberg's First String Quartet, Op. 7." University
of British Columbia, 1996. |
dis.2.3.html
|
Chang, Sangtae, "Boulez's
Sonatine and the Genesis of his Twelve-tone Practice," The University
of North Texas, 1998. |
dis.4.3.html
|
Chong, Eddy K. M., "Extending Schenker’s
Neue musikalische Theorien und Phantasien: Towards a Schenkerian
Model for the Analysis of Ravel’s Music," University of Rochester,
Eastman School of Music, May 2002. |
dis.9.3.html |
Clevenger, John R. "The Origins
of Debussy's Style." Eastman School of Music, University
of Rochester, 1994. |
mto.93.0.2.dis
|
Coenen, Alcedo, E. "Meta-Plus:
Stockhausen's Plus-Minus Computerized and Analyzed." University
of Amsterdam, 1995. |
mto.94.0.11.dis
|
Collaros, Pandel, L. "Quanti-MAS:
A Quantitative System of Melodic Analysis." Ohio State University.,
1996. |
dis.2.7.html
|
Cornicello, Anthony M. "Timbral Organization in Tristan
Murail's 'Désintégrations' and 'Rituals.'" Brandeis University, May
2000. |
dis.8.2.html |
Cotner, John S. "Archetypes
of Progressive Rock, ca. 1966-1973," University of Wisconsin-Madison,
1999 (projected). |
dis.4.1.html
|
Cox, Arnie W. "The Metaphoric Logic of
Musical Motion and Space." University of Oregon, 1999.
|
dis.5.4.html
|
Cramer, Alfred W. "Music for
the Future: Sounds of Early Twentieth-Century Psychology and Language
in Works of Schoenberg, Webern, and Berg, 1908 to the First World
War." University of Pennsylvania, 1997. |
dis.3.3.html
|
Crownfield, Elizabeth E. "The
Intellectual Backgrounds of Morley's Plaine and Easie Introduction."
New York University, 1999-2000. |
dis.3.3.html
|
Cuciurean, John D. "A Theory of Pitch,
Rhythm, and Intertextual Allusion for the Late Music of György Ligeti."
State University of New York at Buffalo, 2000. |
dis.6.4.html
|
Cutler, Timothy S., "Orchestration and
the Analysis of Tonal Music: Interaction between Orchestration and
Other Musical Parameters in Selected Symphonic Compositions, c. 1785-1835."
Yale University, 2000. |
dis.6.5.html
|
Demske, Thomas R. "Recognizing
Melodic Motion in Musical Scores: Rules and Contexts." Yale
University, 1993.
|
mto.93.0.2.dis
|
Derkert, Jacob. "Tonalitet och harmonisk
artikulation i Claude Debussys verk. Om reception, harmonikteori och
analys." University of Stockholm, 1998. |
dis.5.4.html
|
Dolenko, Elena. "Schoenberg. The Early
Years." [Molodoy Schoenberg]. Moscow State Tchaikovsky Conservatory,
October 2000. |
dis.9.3.html |
Dudeque, Norton, E. "Music Theory and Analysis in the
Writings of Arnold Schoenberg (1874-1951)." University of Reading
(UK), April 2002. |
dis.8.2.html |
Djordjevic, Michael, L. "Discrete
Tone Relations Determined by the Hearing Phenomenon within Five-Dimensional
Sound-Musical Continuum." Radio Belgrade, 1995. |
dis.4.6.html
|
Dodds, Michael R. "The Baroque Church
Tones in Theory and Practice." University of Rochester, 1999.
|
dis.6.2.html
|
Doerksen, John F. "A Theory
of Set-class Salience for Post-tonal Music, with Analyses of Selected
Lieder by Anton Webern." University of Western Ontario, 1994.
|
mto.95.1.3.dis
|
Dogantan, Mine. "Mathis Lussy's
Theory of Rhythm as a Basis for a Theory of Expressive Performance."
Columbia University, 1997. |
dis.4.5.html
|
Douw, Andre M. "The Construction
of Order and Direction in Igor Stravinsky's In Memoriam Dylan
Thomas, Canticum Sacrum, and Threni." Utrecht
University, 1995. |
dis.3.1.html
|
Dudeque, Norton E. "Tonal Harmony
and the Concept of Monotonality in the Writings of Arnold Schoenberg."
Universidade de Sao Paulo, June, 1997. |
dis.3.4.html
|
Edith, Zack. "Carmen and Turandot: Femme
Fatale to Femme Creatrice in Opera." Bar-Ilan University, Israel,
2000. |
dis.9.1.html |
Essl, Karlheinz. "Anton Webern's
Idea of Synthesis." University of Vienna, 1989 (in German) |
mto.94.0.10.dis
|
Fiore, Carlo. "I mottetti di
Josquin Desprez: interpretazione attraverso l'analisi." University
of Bologna, 1998. |
dis.4.5.html
|
Fancher, Joseph E. "Pitch Organization in the Turangalîla-Symphonie of Olivier Messiaen." University of Oregon, March 2003. |
dis.9.1.html |
Foley, Gretchen. "Pitch and
Interval Structures in George Perle's Theory of Twelve-Tone Tonality."
University of Western Ontario, 1999. |
dis.5.3.html
|
Follet, Diane W. "Echo - A Chamber Opera
in One Act: The Woman's Voice in the Twentieth Century."
University of Northern Colorado, 2000. |
dis.6.4.html
|
Foulkes-Levy, Laurdella. "A
Synthesis of Recent Theories of Tonal Melody, Contour, and the Diatonic
Scale: Implications for Aural Perception and Cognition." SUNY
Buffalo, September, 1996. |
dis.3.4.html
|
Fung, Eric W.M. "The Performance
of Chopin's First Movement of Piano Sonata in B Minor, op. 58:
A Schenkerian Approach." The Chinese University of Hong Kong,
1995. |
mto.96.2.1.dis
|
Gadd, Robin N. "Theorizing
Musical Style." University of Southampton, 1997 (projected) |
mto.95.1.4.dis
|
Giovinazzo, Joseph, "Timbral
Design of Primary Melody in the First Movement of Bartok's Concerto
for Orchestra." La Trobe University, Australia, 1992.
|
mto.94.0.8.dis
|
Gloag, Kenneth. "Structure,
Syntax and Style in the Music of Stravinsky." University of Exeter,
1995. |
dis.2.5.html
|
Goldenberg, Yosef. "Prolongation of Seventh Chords in Tonal Music."
Hebrew University, Jerusalem, September 2001. |
dis.9.2.html |
Gollin, Edward H. "Representations of
Space and Conceptions of Distance in Transformational Music Theories."
Harvard University, 2000. |
dis.7.1.html
|
Gonzales, Cynthia I. "Text-Music Relationships in the Early Songs of Arnold Schoenberg."
Harvard University, October 2005. |
diss.11.4.html. |
Gonzales-Lizausaba, Oswaldo. "A
Formalized Analysis of Luciano Berio's Erdenklavier for Piano
Solo: An Undulatory Approach." Ecole des Hautes Etudes en Sciences
Sociales, IRCAM, CNRS, June, 1997. |
dis.3.4.html
|
Gosman, Alan R. "Compositional Approaches
to Canons from Ockeghem to Brahms." Harvard University, 2000.
|
dis.7.1.html
|
Grossman, E. Lary. "Fugal Procedures
in the Symphonies of Joseph Haydn." Northwestern University,
1993. |
dis.6.1.html
|
Grove, Paul R. "Doctrine of
the Canon: An Annotated Translation of the Second Counterpoint Book
of Sergei Ivanovich Taneev." University of Arizona, School of
Music, 1996. |
mto.94.0.8.dis
|
Guigue, Didier. "Une Étude
"pour les Sonorités Opposées": Pour une analyse "orientée
objets" de l'oeuvre pour piano de Debussy et de la musique
du 20è siècle." Ecole des Hautes Etudes en Sciences Sociales,
Paris, 1996. |
dis.2.6.html
|
Hafner, Everett. "Time Divided."
University of Massachusetts, Amherst, 1995. |
mto.95.1.4.dis
|
Hansen, Thomas Holme. "An Investigation
of European Modal/Tonal Theories in the Seventeenth Century."
[in Danish] University of Aarhus, 1998. |
dis.4.5.html
|
Harley, Maria A. "Space and
Spatialization in Contemporary Music: History and Analysis, Ideas
and Implementations." McGill University, 1994. |
mto.94.0.9.dis
|
Harper, Steven A. "Minimal
Interval Content Descriptions." School of Music, University of
Texas, Austin, 1994. |
mto.95.1.2.dis
|
Harris, Joseph H. "Harmony in Olivier
Messiaen's Eclairs sur l'Au-Dela." University of Iowa,
2000. |
dis.6.2.html
|
Herlin, Thomas R. "Carl Ruggles and the
Viennese Tradition: A Comparative Analysis." University of Illinois
at Urbana-Champaign, 2000. |
dis.6.2.html
|
Hibberd, Kristian P. G.
"Shostakovich and Bakhtin: A Critical Investigation of the Late Works
(1974-1975)." Goldsmiths College, University of London, June 2005. |
diss.11.3.html |
Hill, David S. "The Persistence
of Memory: Mode, Trope, and Difference in the Passion Chorale."
SUNY, Stony Brook, 1994. |
mto.94.0.7.dis
|
Hodson, Robert D. "Interaction and Improvisation: Group
Interplay in Jazz Performance." University of Wisconsin--Madison,
2000. |
dis.7.5.html |
Hoffman, Stanley M. "Extended
Tonality and Voice Leading in Twelve Songs, Op. 27, by Alexander Zemlinsky."
Brandeis University, 1993. |
mto.94.0.9.dis
|
Hoffmann, Peter. "Music Out
of Nothing? The Dynamic Stochastic Synthesis: A Rigorous Approach
to Algorithmic Composition by Iannis Xenakis," Technische Universitaet
Berlin, 1998. |
dis.4.1.html
|
Hook, Julian L. "Uniform Triadic Transformations." Indiana
University, May 2002. |
dis.8.3.html |
Hussey, William Gregory. "Compositional
Modeling and Quotation in the Works of Johannes Brahms: An Application
of Harold Bloom's Theory of Influence to Music." University
of Texas at Austin, 1996. |
dis.2.6.html
|
Igoudin, Lane, "Impact of MIDI
on Electroacoustic Art Music," Stanford University, 1997. |
dis.4.2.html
|
Jacobus-Freund, Suzanne A. "The
Art of Development: Development and the Development Section Seen Through
the Eyes of Theorists, ca. 1775-1830." Yale University, May 1998.
|
dis.3.4.html
|
Jardim, Antonio. "Music, Another
Density of Real: Toward a Philosophy of Substantive Language."
Conservatorio Brasileiro de Musica, 1988. |
dis.3.1.html
|
Johnson, Russell W. "Essais
sur les Principes de l'Harmonie by Jean-Adam Serre: An Annotated
Translation." Florida State University, 1994. |
mto.95.1.4.dis
|
Johnson, Shersten R. "Hearing the Unvoiceable:
Writer's Block in Benjamin Britten's Death in Venice."
University of Wisconsin-Madison, 2002. |
dis.6.2.html
|
Jones, Jr. Melvin E. "Key Classes and Textural Dissonance: An Instrument-specific Study of the Idioms, Textures, and Structures of Selected Early Romantic Music for the Guitar (1799-1850)." Indiana University-Bloomington, August 2004.
|
dis.10.2.html |
Judd, Cristle Collins. "Aspects
of Tonal Coherence in the Motets of Josquin." King's College,
University of London, 1993.
|
mto.94.0.6.dis
|
Julien, Patricia A. "The Structural Function of Harmonic Relations in Wayne Shorter's
Early Compositions: 1959-1963" University of Maryland, May 2003. |
dis.9.4.html |
Karamahmutoglu, Gulay. "Hamparsum Notation Manuscripts at Istanbul Ataturk Library." ITU Turkish Music State Conservatory, December 1999.
|
dis.10.2.html |
Kievman, Carson. "Ockeghem and Ligeti: The Music of Transcendence."
Princeton University, June 2003. |
dis.10.4.html |
Kim, Jung-Jin. "A Barthesian
Analysis of Britten's The Holy Sonnets of John Donne, Op. 35."
University of Wisconsin-Madison, 1996. |
dis.5.1.html
|
Kizas, Andrew J. "From Octatonicism to Dodecaphony: A Study of Pitch Organization in Selected Works by Donald Martino." University of Western Ontario, December 2004. |
diss.11.3.html |
Klein, Michael. "A Theoretical
Study of the Late Music of Witold Lutoslawski: New Interactions of
Pitch, Rhythm, and Form." SUNY, Buffalo, 1995. |
mto.94.0.8.dis
|
Kochavi, Jonathan H. "Contextually Defined Musical
Transformations." SUNY - Buffalo, April 2002. |
dis.8.2.html |
Konov Yavor S. "The first treatise
of harpsichord 'Les Principes du Clavecin' by Saint Lambert
(Paris, M. DCCII)." State Academy of Music "Pancho Vladigerov,"
Sofia, Bulgaria, 1997. |
dis.5.1.html
|
Konstantinou, Elena. "Nikos
Skalkottas: The Piano Music." University of Reading, 2001.
|
dis.5.2.html
|
Korstvedt, Bemjamin Marcus. "The
First Edition of Anton Bruckner's Fourth Symphony: Authorship,
Production and Reception." University of Pennsylvania, 1995.
|
mto.94.0.8.dis
|
Kosovsky, Robert. "Bernard Herrmann's
Radio Music for the Columbia Workshop." Graduate Center, the
City University of New York, 2000. |
dis.7.1.html
|
Krumbholz, Jay. "Friedrich
Wilhelm Marpurg's Abhandlung von der Fuge." University
of Rochester, Eastman School of Music, 1994. |
mto.93.0.2.dis
|
Kuusi, Tuire. "Set-Class and Chord: Examining Connection
between Theoretical Resemblance and Perceived Closeness." Sibelius
Academy, 2001. |
dis.8.1.html |
Kurth, Richard B. "Mosaic Isomorphism
and Mosaic Polyphony: Balance and Imbalance in Schoenberg's Twelve-tone
Rhetoric." Harvard University, 1993. |
mto.93.0.4.dis
|
Kwan, Kenneth. "Compositional
Design in Recent Works of Chou Wen Chung." SUNY Buffalo, 1995.
|
mto.95.1.1.dis
|
Lai, Eric C. "A Theory of Pitch
Organization in the Early Music of Chou Wen-chung." Indiana University,
1994. |
mto.93.0.2.dis
|
Laine, Pauli A. "A Method for Musical Motion Patterns."
University of Helsinki, April 2000. |
dis.8.2.html |
Lapidaki, Eleni. "Consistency of Tempo
Judgments as a Measure of Time Experience in Music Listening."
Northwestern University, 1996. |
dis.7.4.html |
Laurson, Mikael. "PATCHWORK:
A Visual Programming Language and some Musical Applications."
Sibelius Academy, 1996. |
dis.3.1.html
|
Leinberger, Charles F. "An
Austrian in Hollywood: Leitmotifs and Thematic Transformation in Max
Steiner's Film Score 'Now, Voyager'." University
of Arizona, 1996. |
mto.95.1.5.dis
|
Lemieux, Glenn C. "Music in
Twelve Parts" by Philip Glass: Reconstruction, Construction and
Deconstruction." University of Iowa, 1999. |
dis.4.6.html
|
Leong, Daphne, "A Theory of
Time-Spaces for the Analysis of Twentieth-Century Music: Applications
to the Music of Bela Bartok," Eastman School of Music, 1999 (projected)
|
dis.4.3.html
|
Leydon, Rebecca V. "Narrative
Strategies and Debussy's Late Style." McGill Univeristy,
1996. |
dis.3.3.html
|
Lima, Paulo C. "Surface and Structure in the Music of
Ernst Widmer: Octatonic Compositional Strategies." Universidade
de São Paulo, 2000. |
dis.7.5.html |
Link, John F. "Long-Range Polyrhythms
in Elliott Carter's Recent Music." City University of New
York, 1994. |
dis.3.3.html
|
Linklater, Mary L. "From Procedure
to Technique: Canonic Works of the Fifteenth Century." University
of Rochester, 1998. |
dis.4.4.html
|
Lippus, Urve. "Linear Musical
Thinking." University of Helsinki, 1995. |
mto.95.1.4.dis
|
Lipscomb, Scott. "Perceptual
Judgment of the Symbiosis Between Musical and Visual Components in
Film." Masters Thesis, UCLA, 1990. |
mto.94.0.10.dis
|
Lipscomb, Scott. "Cognition
of Musical and Visual Accent Structure Alignment in Film and Animation."
UCLA, 1995. |
mto.94.0.10.dis
|
Longo, Lauren. "M. Pietro Gianotti's
Le Guide du compositeur: A Reworking of Rameau's 'L'Art
de la basse fondamentale'--An Annotated Translation and Critical
Edition of Part I. City University of New York, 1997. |
dis.3.5.html
|
Lopes, Eduardo. "Just In Time: Towards a Theory of
Rhythm and Metre." University of Southampton, March 2003. |
dis.9.4.html |
Lorenz, Ralph. "Pedagogical
Implications of musica practica in Sixteenth-Century Wittenberg."
Indiana University, 1994. |
mto.93.0.2.dis
|
Lowe, Bethany L. "Performance, Analysis,
and Interpretation in Sibelius's Fifth Symphony." University
of Southampton, 2000. |
dis.7.5.html |
Luchese, Diane. "Olivier Messiaen's
Slow Music: Glimpses of Eternity in Time." Northwestern University,
1998. |
dis.4.4.html
|
Manning, David J. "Harmony, Tonality and Structure in Vaughan Williams's Music."
Cardiff University, December 2003.
|
dis.10.2.html |
Martens, Peter A. "Beat-Finding, Listener Strategies,
and Musical Meter." University of Chicago, June 2005. |
diss.11.4.html |
Maxile, Jr., Horace J. "Say What?: Topics, Signs, and
Signification in African American Music." Louisiana State University,
October, 2001. |
dis.8.2.html |
McCallum, Peter, H.J. "The
Analytical Significance of Beethoven's Sketches for the StringQuartet
in F major, opus 135." University of Sydney, spring 1995 (projected)
|
mto.95.1.3.dis
|
McClatchie, Stephen. "Alfred
Lorenz as Theorist and Analyst." The University of Western Ontario,
1994. |
mto.94.0.8.dis
|
McDonnell, Donald R. "Roger
Sessions' Symphony No. 3, First Movement: Form, Hexachordal Polarity,
and Harmonic Language (and) Nexus/Dreamscape for Chamber Ensemble.
(Original Composition)." Brandeis University, 1994. |
dis.2.6.html
|
McGinness, John, R. "Playing
with Debussy's Jeux: Music and Modernism." UC Santa
Barbara, 1996. |
dis.3.1.html
|
Mackay, James S. "Motivic Structure
and Tonal Organization in Selected Motets of William Byrd." McGill
University, 1999. |
dis.4.4.html
|
McKee, Eric J. "The Interaction
of Tonal Structure and Phrase Structure as an Aspect of Form in Tonal
Music." University of Michigan, School of Music, 1994.
|
mto.95.1.4.dis
|
Mak, Su Yin. "Structure, Design,
and Rhetoric: Variation Procedures in Selected Instrumental and Vocal
Works by Franz Schubert." Eastman School of Music, 1997. |
dis.2.7.html
|
Mengozzi, Stefano. "Between
Humanistic Ideals and Scientific Thought in Glareanus's Dodecachordon."
Univ. of Chicago, 1997. |
dis.2.7.html
|
Mooney, Kevin. "The Table of
Relations and Music Psychology in Hugo Riemann's Harmonic Theory."
Columbia University, 1995. |
mto.96.2.1.dis
|
Moreno, Enrique I. "Embedding
Equal Pitch Spaces and The Question of Expanded Chromas: An Experimental
Approach." Stanford University, 1995. |
mto.96.2.1.dis
|
Morse, Michael William. "The
Tune in Jazz as a Social Process: Prolegomena to a Sociology of Music."
York University (Ontario, Canada), 1996. |
dis.2.7.html
|
Mullin, Carolyn D. "Global Coherence in Selected
Atonal Works of Anton Webern." University of Oregon, June 2005. |
diss.11.2.html |
Murphy, Paul T. "The Thoroughbass
Theory of Jose de Torres y Martinez Bravo with an Annotated Translation
of Reglas Generales (1736)." School of Music, University
of Texas, Austin, 1995. |
mto.95.1.2.dis
|
Nelson, Mark. "Quieting the
Mind, Manifesting Mind: The Zen Buddhist Roots of John Cage's
Early Chance-Determined and Indeterminate Compositions." Princeton
University, 1995. |
mto.95.1.3.dis
|
Nelson, Thomas K. "The Fantasy
of Absolute Music." University of Minnesota, 1998. |
dis.5.2.html
|
Nicholson, G. Gordon. "The Experience
of Successful Contemporary Classical Musical Composition for Non-Computer-Assisted
Performance: A Qualitative Study." Saybrook Institute (San Francisco,
CA), 1997. |
dis.6.2.html
|
Nivans, David B. "Brahms and
the Binary Sonata: A Structuralist Interpretation." University
of California, Los Angeles, 1992. |
dis.2.4.html
|
Noll, Thomas. "Morphologische
Grundlagen der abendländischen Harmonik" (Morphological Foundations
of Occidental Harmony). Technical University of Berlin, 1995. |
dis.2.4.html
|
Novak, John K. "The Programmatic
Orchestral Works of Leos Janacek: Their Style and Their Musical and
Extramusical Content." University of Texas, Austin, School of
Music, 1994. |
dis.2.4.html
|
O'Donnell, Shaugn J. "Transformational
Voice Leading in Atonal Music. City University of New York, 1997.
|
dis.3.2.html
|
O Maidin, Donnncha Sean. "A
Programmer's Environment for Music Analysis." National University
of Ireland, University College Cork, 1995. |
dis.2.3.html,
dis.2.4.html
|
Pacun, David E. "Large-scale
Form in Selected Variation Sets of Johannes Brahms." University
of Chicago, 1998. |
dis.5.3.html
|
Paget, Laurie. "The Madrigals
of Marc'Antonio Ingegneri." Royal Holloway College, University
of London, 1995. |
mto.95.1.5.dis
|
Paley, Elizabeth S. "Narratives
of 'Incidental' Music in German Romantic Theater." University
of Wisconsin-Madison, 1998. |
dis.4.5.html
|
Palombini, C.V. "Pierre Schaeffer's
Typo-Morphology of Sonic Objects." University of Durham, 1992.
|
dis.4.4.html
|
Perlman, Marc A. "Unplayed
Melodies: Music Theory in Postcolonial Java." Wesleyan University,
1994. |
mto.95.1.6.dis
|
Polyvios, Androutsos. "Development and Experimental Implementation of a Model
of Teaching the History of Music in Secondary Education" Aristotle University of Thessaloniki, 2002. |
dis.9.4.html |
Power, Richard. "An Analysis
of Transformation Procedures in Gyorgy Ligeti's String Quartet
No. 2." University of Illinois at Urbana-Champaign, July 1995.
|
dis.3.4.html
|
Powles, Jonathan C. "Continuity
and Discontinuity in the Music of Stravinsky: Analysis: Theory and
Meta-Theory." Univ. of Oxford (Liverpool), 1995. |
mto.95.1.4.dis
|
Pye, Richard C. "The Music
of William Schuman," University of Newcastle, 1999 (projected).
|
dis.4.1.html
|
Quaglia, Bruce, W. "Compositional
Practice and Analytic Technique; Schoenberg’s Atonal Works: Reconciling
Approaches to Sets, Lines and Developing Variation." University
of Utah, 1998. |
dis.4.6.html
|
Raickovich, Milos. "'Einstein
on the Beach' by Philip Glass: A Musical Analysis. City University
of New York, 1994. |
dis.2.6.html
|
Ricci, Adam. "A Theory of the Harmonic Sequence." Eastman School of Music, University of Rochester, May 2004. |
diss.11.3.html |
Richards, William H. "Transformation and Generic
Interaction in the Early Serial Music of Igor Stravinsky." University of Western
Ontario, June 2003. |
dis.9.3.html |
Riddick, Frank C. "An Analytical
Study of Zemlinsky's Second String Quartet." University of
Colorado, Boulder, 1994. |
mto.93.0.4.dis
|
Rifkin, Deborah. "Tonal Coherence in
Prokofiev's Music: A Study of the Interrelationships of Structure,
Motives, and Design." Eastman School of Music, 2000. |
dis.6.2.html
|
Riley, Matthew J. "Attentive Listening:
The Concept of *Aufmerksamkeit* and its Significance in German Musical
Thought, 1770-1790." University of London, 2000. |
dis.6.4.html
|
Rivest, Johanne. "Le Concert
for Piano and Orchestra de John Cage ou les limites de l'indetermination"
(English transl: "John Cage's Concert for Piano and Orchestra:
the limits of indeterminacy"). University of Montreal, Faculty
of Music, 1996. |
dis.2.3.html
|
Robison, Brian Carl. "Carmen arcadiae
mechanicae perpetuum: Toward a methodology for analyzing Harrison
Birtwistle's music since 1977." Cornell University, 1999.
|
dis.6.4.html
|
Rogers, Nancy M. "The Role of Verbal
Encoding in Memory for Musical Timbre and Pitch Patterns." University
of Rochester, 2000. |
dis.7.2.html
|
Roller, Jonathan B. "An Analysis
of Selected Movements from the Symphonies of Charles Ives Using Linear
and Set Theoretical Analytical Models." University of Kentucky,
School of Music, 1995. |
mto.95.1.6.dis
|
Romig, James. "Twelve-Tone Rhythmic Structure
and its Application to Form: Time-Point Nesting and Rotation in 'Spin'".
Rutgers University, 2000. |
dis.6.1.html
|
Rosenhaus, Steven L. "Harmonic
Motion in George Perle's Wind Quintet No.4." New York Univ.,
Dept. of Music and Performing Arts Professions, 1995. |
mto.95.1.4.dis
|
Rothstein, Evan J. "The Tradition of Developing Variation and the Problem of 'Folkloristic' Music in Ives's First Violin Sonata." Indiana University (Bloomington), May 2001.
|
dis.9.1.html |
Rubin, Anna, I. "Forêt Profonde:
The Narrative, Sonic and Reception Design of Francis Dhomont's
Forêt Profonde." Princeton University, 1999. |
dis.5.1.html
|
Rupprecht, Philip E. "Tonal
Stratification and Conflict in the Music of Benjamin Britten."
Yale University, 1993. |
mto.95.1.3.dis
|
Russell, Todd B. "Rhythm in
Music: A Comparative Analysis of the Two Versions of Opus 18, No.
1 String Quartet (I, IV) by Beethoven." University of Kentucky,
1993. |
mto.94.0.6.dis
|
Rust, Douglas. "A Theory of
Form for Lutoslawski's Late Works." Yale University, 1994.
|
mto.94.0.9.dis
|
Sachania, Millan. "The Arramgements
of Leopold Godowsky: An Aesthetic, Historical, and Analytical Study."
University of Cambridge, England, 1997. |
dis.4.5.html
|
Samplaski, Arthur G. "A Comparison of
Perceived Chord Similarity with Predictions of Selected Twentieth-
Century Chord-Classification Systems, using Multidimensional Scaling
and Cluster Analysis." Indiana University, 2000. |
dis.6.2.html
|
Samuels, Robert. "Semiotics
and Mahler: Analyses of Musical Signification in the Sixth Symphony."
Cambridge University, 1993. |
mto.94.0.7.dis
|
Sandell, Gregory, J. "Concurrent
Timbres in Orchestration: A Perceptual Study of Factors Determining
'Blend'." Northwestern University, 1991. |
mto.93.0.2.dis
|
Santa, Matthew S. "Studies
in Post-Tonal Diatonicism: A Mod7 Perspective." City University
of New York, 1999.
|
dis.5.2.html
|
Saunders, Michael, D. "A Computer-based
Notation for the Process of Musical Composition," University
of Wales, Cardiff, 1998. |
dis.4.5.html
|
Scotto, Ciro, G. "Can Non-Tonal
Systems Support Music as Richly as Tonal Systems?" University
of Washington, Dec., 1995. (projected) |
mto.95.1.3.dis
|
Scrivener, Julie A. "Representations
of Time and Space in the Player Piano Studies of Conlon Nancarrow."
Michigan State University, 2002. |
dis.7.2.html
|
Seltzer, Linda A. "The Unblinking
Eye, Literary Theory in the Analysis of Debussy's Pelleas et
Melisande." Princeton Univerisity, in progress. |
mto.96.2.1.dis
|
Sheinberg, Ester. "The Semantics
of Irony in Shostakovich." (in progress) University of Edinburgh,
Scotland. |
mto.94.0.9.dis
|
Simpson, Jasba. "Cochlear Modeling
of Sensory Dissonance and Chord Roots." Master's Thesis,
University of Waterloo, Waterloo, Ontario, Canada, 1994. |
mto.94.0.8.dis
|
Slottow, Stephen P. "A Vast Simplicity:
Pitch Organization in the works of Carl Ruggles." Graduate Center,
City University of New York, 2001. |
dis.7.3.html
|
Spicer, Mark. "British Pop-Rock Music in the Post-Beatles
Era: Three Analytical Studies." Yale University, 2001. |
dis.8.2.html |
Spicker, Volker. "New Piano
Improvisation." University of Giessen, Institute of Musicology,
1997 (projected). |
mto.96.2.1.dis
|
Spiegelberg, Scott C. "The Psychoacoustics of Musical
Articulation." Eastman School of Music, January 2002. |
dis.8.4.html |
Solomon, Larry Joseph. "Symmetry
as a Determinant of Musical Composition." West Virginia University,
1973. |
dis.2.4.html
|
Squibbs, Ronald J. "Analytical
Issues in Recent Instrumental Works of Iannis Xenakis." Yale
University, 1996 (projected) |
mto.95.1.3.dis
|
Steenstra, Sytze G. "We Are The Noise Between Stations: A philosophical exploration of the
work of David Byrne, at the crossroads of popular media, conceptual art, and
performance theatre." Maastricht University, The Netherlands, June 2003. |
dis.10.4.html |
Steffen, Ralph Martin. "Metalogik: The
Music Theory of Walter Harburger." University of California,
Santa Barbara, 1999. |
dis.5.4.html
|
Sundin, Nils-Goran. "Aesthetic
Criteria for Musical Interpretation: A Study of the Contemporary Performance
of Western Notated Instrumental Music after 1750." University
of Jyvaskyla, Finland, 1994. |
dis.5.1.html
|
Synofzik, Thomas. "Heinrich
Grimm (1592/93-1637): 'Cantilena est loquela canens'. Studien
zu Überlieferung und Kompositionstechnik." University of
Cologne, 1998. |
dis.6.5.html
|
Taylor, Stephen A. "The Lamento
Motif: Metamorphosis in Ligeti's Late Style." Cornell University,
1994. |
mto.94.0.9.dis
|
Telecso, Paula J. "Enharmonicism
in Theory and Practice in 18th-Century Music." Ohio State University,
1993. |
mto.94.0.6.dis
|
Thomas, Margaret E. "Polytempo
as Temporal Dissonance in the Player Piano Studies of Conlon Nancarrow."
Yale University, 1995. (Completed as "Conlon Nancarrow's
'Temporal dissonance': Rhythmic and Textural Stratification
in the Studies for Player Piano." Yale University, 1996.) |
mto.95.1.3.dis
dis.2.5.html
|
Tjoeme, Berit Kvinge. "The
Articulation of Sonata Form in Atonal Works by Fartein Valen."
University of Oslo, 1995. |
dis.3.1.html
|
Tong, Chee-yee J. "Separate
Discourses: A Study of Performance and Analysis." University
of Southampton, Dept. of Music, 1994. |
mto.95.1.1.dis
|
Tsougras, Costas F. "Generative Theory of Tonal Music and
Modality - Research based on the analysis of '44 Greek miniatures' by
Yannis Constantinidis." Aristotle University of Thessaloniki, March
2002. |
mto.8.2.html |
Tucker, Gary R. "Tonality and
Atonality in Alban Berg's Four Songs, Op. 2." University of
Western Ontario, 1995. |
mto.95.1.2.dis
|
Turner, Mitchell M. "Toward a General
Theory of Pitch Structure: Unity Between Horizontal and Vertical Pitch-Class
Sets." University of Georgia, 1999. |
dis.6.3.html
|
Uno, Yayoi. "Avant-garde Music
circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and Xenakis."
Eastman School of Music, University of Rochester, 1993. |
mto.93.0.2.dis
|
Vachon, Pierre. "Study of titles
in the Piano Works of Robert Schumann, their function and meaning."
University of Montreal,Faculty of Music, 1998. |
dis.2.3.html
|
Van Colle, Sue, J. "Music therapy
process with cerebral palsied children: connections with psychoanalytic
models, particularly that of Winnicott." University of Reading,
1999. |
dis.4.6.html |
Van Colle, Sue J. "Music Therapy Process
with Young People Who Have Severe and Multiple Disabilities." University of Reading, January 2003. |
dis.9.4.html |
Varney, John Charles. "Colombian Bambuco: The Evolution
of a National Music Style." Griffith University, 1999. |
dis.8.1.html |
Vives, Thomas E. "The Effect
of Timbre on the Chord Identification Accuracy of Sophomore-Level
College Music Theory Students." University of Florida, 1998.
|
dis.4.6.html
|
Vlagopoulos, Panos Ph. Le noble
rhetorique: Mental Models in the Song Production of Guillaume de Machaut.
Ionion State University, 1998. |
dis.3.5.html
|
Wacker, Lori J. "Motivic Form and Rhythmic Function
in the Late Works of S.C. Eckhardt-Gramatté (1899-1974)." Indiana
University, 2000. |
dis.7.5.html
|
Walker, Jonathan. "The Work-Concept
in Music and Musicology: A Philosophical Study." (provisional
title) Queen's University Belfast, School of Music, 1996. |
dis.2.3.html
|
Wang, Yuhwen. "The Value of
Values: Value Judgment in Edward T. Cone's Music Analyses."
Columbia University, 1996. |
mto.96.2.1.dis
|
Waters, Keith, J. "Rhythmic
and Contrapuntal Structures in the Music of Arthur Honegger."
Eastman School of Music, 1997. |
dis.3.1.html
|
Waters, William J. "A Study
of Temporal Change in the Recorded Performances of Igor Stravinsky's,
The Rite of Spring." Florida State University, Dec., 1995
(projected) |
mto.95.1.3.dis
|
Weisser, Benedict J. "Notational
Practice in Contemporary Music: A Critique of Three Compositional
Models (Luciano Berio, John Cage, and Brian Ferneyhough)." City
University of New York, 1998. |
dis.4.6.html
|
Wiens, Carl K. "Igor Stravinsky
and Agon," University of Michigan, 1997. |
dis.4.1.html
|
Wiering, Frans. "The Language
of the Modes. Studies in the History of Polyphonic Modality."
University of Amsterdam, 1995. |
mto.95.1.5.dis
|
Wilde, Howard. "Towards a New
Theory of Voice-Leading Structure in Sixteenth-Century Polyphony."
Royal Holloway College, University of London, 1995. |
mto.95.1.5.dis
|
Wile, Kip D. "A Study of Collection
in Neocentric Music." University of Chicago." 1994. |
mto.94.0.8.dis
|
Wilkinson, Carlton J. "Symphony
in Five Movements: A Presentation and Analytical Discussion of a New
Work in a Symphonic Form." Rutgers Univ., 1995. |
dis.2.7.html
|
Windsor, Luke W. "A Perceptual
Approach to the Description and Analysis of Acousmatic Music."
City Univeristy, Department of Music, London, 1995. |
dis.2.4.html
|
Wright, James K. "Schoenberg, Wittgenstein, and
the Vienna Circle: Epistemological Meta-Themes in Harmonic Theory,
Aesthetics, and Logical Positivism." McGill University, February 2002.
|
dis.10.1.html |
Vantomme, Jason D. "Score Following
by Computer: An Approach by Temporal Pattern." Master's Thesis,
McGill University, 1994. |
mto.94.0.11.dis
|
Zamzow, Beth Ann. "The Influence of the
Liturgy on the Fifteenth-Century English Carols." University
of Iowa, 2000. |
dis.6.3.html
|