Tobias Mundry Dissertation Sample

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This archive is maintained by J. P. E. Harper-Scott. The abstracts relate both to completed dissertations and to those in progress. We would be glad to add further abstracts: please fill in this form. 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. Abel, Jürg Michael, Johann-Wolfgang-Goethe-Universität Frankfurt/Main, 1996: Die Entstehung der sinfonischen Musik in Rußland
  2. Abravaya, Ido, University of Tel Aviv, 2000: Studies of Rhythm and Tempo in the Music of J. S. Bach
  3. Adlington, Robert C., University of Sussex, 1997: Temporality in Post-Tonal Music
  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. 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. Atwell, Scott D., Michigan State University, expected 1999: Cadence, Linear Procedures, and Pitch Structure in the Works of Johannes Ockeghem
  7. Barker, Naomi Joy, Royal Holloway, University of London, 1995: Analytical Issues in the Toccatas of Girolamo Frescobaldi
  8. Bhogal, Gurminder Kaur, University of Chicago, 2004: Arabesque and Metric Dissonance in the Music of Maurice Ravel (1905-1914)
  9. Blachly, Alexander, Columbia University, 1995: Mensuration and Tempo in 15th-Century Music: Cut Signatures in Theory and Practice
  10. Bower, Bruno, Royal College of Music, in progress (projected finish 2015): The Crystal Palace Saturday Concerts, 1856-1878: A Case Study of Nineteenth-Century Analytical Programme Notes
  11. Brover-Lubovsky, Bella, Hebrew University of Jerusalem, 2001: Vivaldi’s Harmony: Practice and Theory
  12. Bruno, Luca, University of Trento, Italy, 2006: Theory and Analysis of Harmony in Adrian Willaert’s Canzone villanesche alla napolitana (1542-1545)
  13. Buhagiar, Spiridion Vincent, Mediterranean Institute, University of Malta, Msida, Malta, 1999: Francesco Azopardi (1748-1809): A Maltese Classical Composer, Theorist, and Teacher
  14. Bunbury, Richard R., University of Massachusetts Amherst, 2001: Justine Ward and the Genesis of the Ward Method of Music Education
  15. Burns, Ellen J., Florida State University, 1994: The Dialectical Structure of W. A. Mozart’s Die Zauberflöte: A Phenomenological Analysis
  16. Burns, Kristine H., Ball State University, 1993: The History and Development of Algorithms in Music Composition, 1957-1993
  17. 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
  18. 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
  19. Chapman, Clive Gilbert, Royal Holloway, University of London, 1981: English Pantomime and its Music, 1700-1730
  20. Chen, Beth Pei-Fen, University of Manchester, 2009: The Development of Mozart’s Slurring and its Possible Functions in Performance
  21. 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
  22. Chrissochoidis, Ilias, Stanford University, 2004: Early Reception of Handel’s Oratorios, 1732-1784: Narrative-Studies-Documents
  23. Clark, Alice V., Princeton University, 1996: Concordare cum materia: The Tenor in the Fourteenth-Century Motet
  24. Clements, James, Royal Holloway, University of London, 2002: Aspects of the Ars Rhetorica in the Violin Music of Heinrich Biber (1644-1704)
  25. 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
  26. Coleman, Jeremy, Kings College London, 2016: Wagner in Paris: Translation, Identity, Modernity
  27. 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)
  28. Corte-Real Carvalho, Maria de Sao Jose, Columbia University, 1991: Retention of Musical Models: Fado Performance among Portuguese Migrants in New York
  29. 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
  30. Dairianathan, Eugene I., Nanyang Technological University, Singapore, 1996: Change Articulated by Pitch: A Study of Instrumental Works by Franz Schubert and John Coolidge Adams
  31. 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
  32. Dell’Antonio, Andrew, University of California, Berkeley, 1991: Syntax, Form, and Genre in Sonatas and Canzonas, 1621-1635
  33. 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
  34. Dickenson, James W., University of Salford, 2003: The Impact of Norwegian Folk Music on Norwegian Jazz, 1945-1995
  35. 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
  36. 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
  37. Dodds, Michael R., University of Rochester, 1999: The Baroque Church Tones in Theory and Practice
  38. Dolenko, Elena, Moscow State Tchaikovsky Conservatory, Moscow, 2003: Schoenberg: The Early Years [Molodoy Schoenberg]
  39. Dromey, Christopher, King’s College London, 2011: The Pierrot Ensembles.
  40. 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
  41. Earle, Eugenia, Teachers College, Columbia University, 1979: Improvised Ornamentation in Solo Instrumental Literature of the German Late Baroque: A Study and Lecture Demonstration
  42. Ellis, Sam, University of Wales, Bangor, 2006: Evolution and Retrospection in the Chamber Music of Arthur Bliss
  43. Elsdon, Peter S., University of Southampton, 2001: Keith Jarrett’s Solo Concerts and the Aesthetics of Free Improvisation, 1960-1973
  44. Enge, Håvard, Music Reading Poetry – Hans Zender’s Musical Reception of Hölderlin
  45. 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
  46. 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)
  47. Filkins, Joanne M., University of Kentucky, 1994: The Horn Music of Bernhard Heiden
  48. Fink, Robert Wallace, University of California, Berkeley, 1994: Arrows of Desire: Long-Range Linear Structure and the Transformation of Musical Energy
  49. Finney, Ian James, Royal Holloway and Bedford New College, University of London, 1988: The String Quartets of Vagn Holmboe
  50. Flamm, Christoph, Ruprecht-Karls-Universität Heidelberg, 1995: Der russische Komponist Nikolaj Metner: Studien und Materialien
  51. Fleming, Bonnie E., University of Kansas, 1998: Chamber Music for Single Instrument and Piano by Sir Charles Hubert Hastings Parry (1848-1918)
  52. Fleming, Michael, The Open University (Milton Keynes, UK), 2001: Viol-Making in England c1580-1660
  53. Franklin, John Curtis, University of London, University College, forthcoming (expected 2002): Terpander: the Invention of Music in the Orientalizing Period
  54. 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
  55. Friedmann, Susana, King’s College, University of London, 1996: The Festive Song Repertory of the Barbacoas, Colombia, and its Implications for Ballad Transmission
  56. Fuhrmann, Wolfgang, University of Vienna, expected 2001: “Miserere mei”: Studien zur Geschichte musikalischer Subjektivität (“Miserere mei: Studies on the History of Musical Subjectivity)
  57. 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
  58. Gallo, Denise P., The Catholic University of America, 1997: Giovanni Pacini’s “Giuditta”: The Dramatic Possibilities of the Oratorio
  59. Gardner, Matthew, Ruprecht-Karls-Universität, Heidelberg, 2007: Handel and Maurice Greene’s Circle at the Apollo Academy: the Music and Intellectual Contexts of Oratorios, Odes and Masques
  60. Gasche, David, Université François Rabelais, Tours, France, Wien Universität, Wien, Austria, 2009: La musique de circonstance pour Harmoniemusik à Vienne (1760-1820)
  61. Giannopoulos, Ilias, University of Athens, 2011:  Aspects of time in the music of the 20th century: On the problem of time and its theoretical presuppositions in new music with special emphasis on the music of the avant-garde of the 1950s and 1960s
  62. Gibson, Lorna A. C., Royal Holloway, University of London, 2005: Beyond Jerusalem: Music in the Women’s Institute, 1919-1969
  63. Gibson, Robert Raphael, University of Oxford, 2004: Parody Lost and Regained: Richard Strauss’s Double Voices
  64. Gillespie, Joseph Norman, Royal Holloway College, University of London, 1982: The Life and Work of Henry Carey (1687-1743)
  65. Goldenberg, Yosef, The Hebrew University of Jerusalem, 2001: Prolongation of Seventh Chords in Tonal Music
  66. 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
  67. González-Castelao, Juan, Universidad de Oviedo, 2007: El Director Ataúlfo Argenta (1913-1958): Estudio Biográfico, Analítico E Interpretativo
  68. 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
  69. Green, Rebecca, University of Toronto, 1995: Power and Patriarchy in Haydn’s Goldoni Operas
  70. Green, Shannon L., University of Wisconsin-Madison, expected 1997: “Sing and You’ll Be Good”: Music at Hull-House and other Social Settlement Houses
  71. Gresser, Clemens, University of Southampton, 2004: (Re-)Defining the Relationships between Composer, Performer and Listener: Earle Brown, John Cage, Morton Feldman and Christian Wolff
  72. 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”
  73. Gunderson, Terence S., University of Northern Colorado, 1992: A Pedagogical Approach to Solo Jazz Vibraphone developed through an Analysis of Common Performance Practice
  74. Gustavson, Royston Robert, University of Melbourne, 1998: Hans Ott, Hieronymus Formschneider, and the Novum et insigne opus musicum (Nuremberg, 1537-1538)
  75. Hafner, Everett, University of Massachusetts, Amherst: Time Divided: Invariance of Proportion in Orchestral Performance
  76. 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
  77. Harley, Maria Anna, McGill University, Montréal, 1994: Space and Spatialization in Contemporary Music: History and Analysis, Ideas and Implementations
  78. Haste, Amanda, Bristol University, 2008: The Role of Music in Twenty-First-Century Anglican Monasticism
  79. Hebbert, Ben, University of Oxford (St Cross College), in progress: The English Music Trade, c.1647–c.1725
  80. Heller, Wendy, Brandeis University, 1995: Chastity, Heroism, and Allure: Women in the Opera of Seventeenth-Century Venice
  81. Hernández Mateos, Alberto, University of Salamanca, 2012: El Pensamiento Musical De Antonio Eximeno (Antonio Eximeno’s Musical Thought)
  82. 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
  83. Hibberd, Kristian Philip Gordon, Goldsmiths College, University of London, 2005: Shostakovich and Bakhtin: A Critical Investigation of the Late Works (1974-1975)
  84. Hornby, Emma, Oxford University, 1998: A Study of the Eighth-Mode Tracts in the Gregorian and Old Roman Traditions
  85. Hoyt, Trevor, University of North Carolina at Chapel Hill, in progress: The Genesis of Beethoven’s String Quartet in E-Flat Major, Op. 127
  86. Hübner, Falk, University Leiden, 2013: Shifting Identities. The Musician as Theatrical Performer
  87. Hundsnes, Svein, University of Oslo, 2014: Thematic Counterpoint And Adjacent Constructional Texturing In Tchaikovsky’s Six Symphonies
  88. James, Kenneth Edward, Royal Holloway College, University of London, 1987: Concert Life in Eighteenth-Century Bath
  89. 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
  90. 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
  91. Kardamis, Konstantinos, Ionian University, 2006: The “Pre-Solomian” Nikolaos Halikiopoulos Mantzaros and his Work
  92. 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
  93. Key, Susan, University of Maryland at College Park: “Sweet Melody Over Silent Wave”: Depression-Era Radio and the American Composer
  94. King, Jonathan, Oxford University, 1996: Texting in Early Fifteenth-Century Sacred Polyphony
  95. Kisby, Fiona, Royal Holloway, University of London, 1996: The Early-Tudor Royal Household Chapel in London, 1485-1547
  96. Konov, Yavor, State Academy of Music “Pancho Vladigerov”, Sofia, 1997: The first harpsichord treatise “Les Principes du Clavecin” by Saint Lambert (Paris, 1702)
  97. Konye, Paul, University of Kentucky, 1997: Twentieth-Century Nigerian Art Music: Social, Political, and Cultural Factors Involved in its Evolution and Practice
  98. Korstvedt, Benjamin Marcus, University of Pennsylvania, 1995: The First Edition of Anton Bruckner’s Fourth Symphony: Authorship, Production and Reception
  99. 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]
  100. Kulezic-Wilson, Danijela, University of Ulster, 2005: Composing on Screen: The Musicality of Film
  101. Lee, Carolyn Ruby, Royal Holloway College, University of London, 1980: Spanish Polyphonic Song c. 1460 to 1535
  102. Lee-De Amici, Beth Anne, University of Pennsylvania, in progress (expected June 1999): “Ad Sustentacionem Fidei Christiani”: Sacred Music and Ceremony in Medieval Oxford
  103. 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
  104. Lehr, Hartwig, Hochschule für Musik und Darstellende Kunst, Frankfurt am Main, 1995: Musik für … : Untersuchungen zum Werk Rudi Stephans
  105. Lerch, Alexander, Technische Universität Berlin, 2008: Software-Based Extraction of Objective Parameters from Music Performances
  106. 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
  107. Levidou, Ekaterini, University of Oxford, 2008: The Encounter of Neoclassicism with Eurasianism in Interwar Paris: Stravinsky, Suvchinsky, and Lourié
  108. Lloyd, Angela, Royal Holloway, University of London, 1996: Modal Representation in the Early Madrigals of Cipriano de Rore
  109. Lloyd, Catherine, King’s College, London, 2002: Ars Antiqua — Ars Nova
  110. Lloyd, Richard G. C., Royal Holloway, University of London, 2000: Provision for Music in the Parish Church in Late-Medieval London
  111. Lundberg, Mattias, The University of Liverpool, in progress (expected 2005): The Tonus Peregrinus in the Polyphony of the Western Church
  112. Lynan, Peter R., Oxford University (St Edmund Hall), 1997: The English Keyboard Concerto in the Eighteenth Century
  113. Mabary, Judith Ann, Washington University – St Louis, 1999: Redefining Melodrama: The Czech Response to Music and Word
  114. McClatchie, Stephen C., University of Western Ontario, 1994: Alfred Lorenz as Theorist and Analyst
  115. 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
  116. McClung, Bruce D., Eastman School of Music, 1995: American Dreams: Analyzing Moss Hart, Ira Gershwin, and Kurt Weill’s Lady in the Dark
  117. Dr Louise McInnes, University of Huddersfield, 2014: The Social, Political and Religious Contexts of the Late Medieval Carol: 1360-1
  118. Mackay, Lisa, Monash University, Melbourne, Australia, expected 1998: The Salve Regina Settings in the Eton College Choirbook
  119. Maiani, Brad, University of North Carolina at Chapel Hill, 1996: The Responsory-Communions: Toward a Chronology of Selected Proper Chants
  120. Manning, David, Cardiff University, 2003: Harmony, Tonality and Structure in Vaughan Williams’s Music
  121. Marín, Miguel Ángel, Royal Holloway, University of London, 1999: Music and Musicians in Provincial Towns: The Case of Eighteenth-Century Jaca (Spain)
  122. Marrington, Mark D., University of Leeds, 2002: Extra-Musical Influences and Musical Style in the Works of Denis ApIvor
  123. 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
  124. Matsumoto, Naomi, Goldsmiths College, University of London, 2005: The Origins of the Operatic Mad Scene and its Early Development up to c1700
  125. Matveyeva, Elena, Moscow State Conservatoire, 2000: Joseph Haydn’s Musical Theatre
  126. Mehrens, Christopher E., University of North Carolina at Chapel Hill, in progress: From Wonderland to Poictesme: The Antimodernism of Deems Taylor
  127. 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
  128. Mitsopoulou, Evangelia I., University of Macedonia of Thessaloniki, 2010: Dante as Source of Inspiration for Franz Liszt: Dante Symphony and Its Pianistic Transcriptions.
  129. Muir, Theresa, City University of New York, 1997: Wagner in England: Four Writers before Shaw
  130. 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
  131. 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
  132. Nelson, Thomas K., University of Minnesota, 1998: The Fantasy of Absolute Music
  133. Nivans, David, University of California, Los Angeles, 1992: Brahms and the Binary Sonata: A Structuralist Interpretation
  134. Nosow, Robert Michael, University of North Carolina at Chapel Hill, 1992: The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy
  135. Novak, John K., University of Texas at Austin, 1994: The Programmatic Orchestral Works of Leos Janacek: Their Style and their Musical and Extramusical Content
  136. Oelmann, Klaus Henning, Gesamthochschule/Universität Kassel, 1992: Edvard Grieg: Versuch einer Orientierung
  137. O’Shea, Patrick Michael, Arizona State University, 1995: A Stylistic and Structural Analysis of Russell Woollen’s “La Corona”
  138. Owens, Samantha K., Victoria University of Wellington, New Zealand, 1995: The Württemberg Hofkapelle c.1680-1721
  139. Paget, Laurie, Royal Holloway, University of London, 1995: The Madrigals of Marc’Antonio Ingegneri
  140. Pakusa, Peter, Universität Hamburg, 1991: Jenseits der zwölf Töne: Untersuchungen an neuerer Vokalmusik unter besonderer Berücksichtigung von Vierteltonkompositionen
  141. Palombini, Carlos, University of Durham, 1993: Pierre Schaeffer’s Typo-Morphology of Sonic Objects
  142. Parmley, Andrew Charles, Royal Holloway, University of London, 1988: The Pastorales, Intermèdes, and Incidental Music of Marc-Antoine Charpentier
  143. Parsons, James, University of North Texas, 1992: Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven’s Choral Symphony
  144. Paulinyi, Zoltan, (Masters degree) Departamento de Música, Universidade de Brasília, Brasília, 2010: Flausino Vale and Marcos Salles: influences of Franco-Belgian School on Brazilian works for solo violin
  145. Pearson, Ingrid Elizabeth, University of Sheffield, 2001: Clarinet Embouchure in Theory and Practice: The Forgotten Art of Reed-Above
  146. Pederson, Sanna, University of Pennsylvania, 1995: Enlightened and Romantic German Music Criticism, 1800-1850
  147. Peraino, Judith Ann, University of California, Berkeley, 1995: New Music, Notions of Genre, and the “Manuscrit du Roi” circa 1300
  148. Perry, Susan Cotton, University of Kentucky, 1990: The Development of the Italian Organ Toccata: 1550-1750
  149. Pinegar, Sandra, Columbia University, 1991: Textual and Conceptual Relationships Among Theoretical Writings on Measurable Music during the Thirteenth and Early Fourteenth Centuries
  150. 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
  151. Potter, Caroline, University of Liverpool, 1995: A la recherche d’Henri Dutilleux
  152. Sarah Potter, University of Leeds, 2014: Changing Vocal Style & Technique in Britain, 1750–1900 (The Role of the Singer in Historically Informed Performance)
  153. 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
  154. Press, Stephen, University of North Carolina at Chapel Hill, in progress: Prokofiev’s Ballets for Diaghilev
  155. Ramanna, Nishlyn, University of KwaZulu-Natal, Durban, 2005: Jazz as Discourse: A Contextualised Account of Contemporary Jazz in Post-Apartheid Durban and Johannesburg
  156. Ratcliffe, Martin, Royal Holloway, University of London, 1998: Robert Simpson’s Third Symphony: Sources and Influences
  157. Raub, Jennifer, Royal Holloway, University of London, in progress: “Sarum” Liturgical Printing in Tudor London: A Study and Catalogue
  158. Rawson, Robert G., Royal Holloway, University of London, 2002: From Olomouc to London: The Early Music of Gottfried Finger (c 1655-1730)
  159. Reeve, Robert Gilbert, Royal Holloway College, University of London, 1980: The Life and Works of William Mundy
  160. 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
  161. 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
  162. Reuter, Christoph, Universität Köln, 1996: Die auditive Diskrimination von Orchesterinstrumenten
  163. Reyland, Nicholas W., Cardiff University of Wales, 2005: “Akcja” and Narrativity in the Music of Witold Lutoslawski
  164. Ridding, Josepha, University of Kingston (UK), 2003: Cultural Considerations of Rubato in Czech Piano Performance, with Specific Reference to Chopin’s Works
  165. Ridgewell, Rupert M., Royal Holloway, University of London, 1999: Mozart and the Artaria Publishing House: Studies in the Inventory Ledgers, 1784-1793
  166. Riley, Matthew, Royal Holloway, University of London, 2000: Attentive Listening: The Concept of Aufmerksamkeit and its Significance in German Musical Thought, 1770-1790
  167. Rischar, Richard, University of North Carolina at Chapel Hill, 2000: One Sweet Day: Vocal Style in African-American Popular Ballads, 1991-1995
  168. 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
  169. Rose, Stephen, University of Cambridge, 2002: Music, Print and Authority in Leipzig during the Thirty Years’ War
  170. Rutter, Philip, Royal Holloway, University of London, 1993: Paris, Bibliothèque Nationale, fonds latin 1240: A Transcription and Analysis of the Trope Repertoire
  171. Sandell, Gregory John, Northwestern University, 1991: Concurrent Timbres in Orchestration: A Perceptual Study of Factors Determining “Blend”
  172. 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)
  173. Saunders, James E., Royal Northern College of Music, 1996: The Final Frontier: The Development of Polytempo in the Music of Conlon Nancarrow
  174. Schiller, Caroline, Florida State University, 2001: A Performer’s Guide to Works for Soprano Voice by Canadian Women Composers
  175. 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
  176. Schlosser, Milton, University of Alberta, Edmonton, 1995: Queer Effects, Wilde Behaviour: Frederic Rzewski’s “De Profundis”
  177. 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
  178. Shaw, A. Timothy, Royal Holloway, University of London, 2000 (forthcoming): Reading the Liturgy at Westminster Abbey in the Late Middle Ages
  179. Sheinberg, Esti, University of Edinburgh, 1997: Irony, Parody, Satire and The Grotesque in the Music of Dmitri Shostakovich
  180. Shinnick, Emilie Julia Wingo, University of Texas at Austin, 1997: The Manuscript Assisi, Biblioteca del Sacro Convento, MS 695: A Codicological and Repertorial Study
  181. Sofer, Danielle, University of Music and Performing Arts Graz, 2016: Making Sex Sound: Erotic Current in Electronic Music
  182. Solomon, Larry, West Virginia University, 1973: Symmetry as a Compositional Determinant
  183. Smialek, Eric, McGill University, 2016: Genre and Expression in Extreme Metal Music, 1990–2015
  184. Špirić-Beard, Danijela, Cardiff University, 2012: Border – Bridge – Crossroads: the Construction of Yugoslav Identity in Music (1835–1938) and the Case of Josip Štolcer Slavenski
  185. Springthorpe, Nigel Richard, University of Surrey, 1997: Passion Composition and Composers of Passion Music associated with the Court of Anhalt-Zerbst
  186. Stapleton, Karl, University of Birmingham, 2003: Czech Music Culture in Prague 1858-1865
  187. Stoffel, Lawrence, Indiana University, 1999: Promotion of the Concert Band as an Artistic Medium through Recordings: An Annotated Discography
  188. Stonehouse, Alison, University of Western Ontario: French Attitudes Towards Metastasio as Poet and Dramatist in the Second Half of the Eighteenth Century
  189. Stoupakis, Alexandros, National and Kapodestrian University of Athens, expected 2002: Life and Works of Martino Pesenti (c.1600-c.1648)
  190. 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
  191. Taylor-Jay, Claire Patricia, University of Southampton, 1999: Politics and the Ideology of the Artist in the Künstleropern of Pfitzner, Krenek and Hindemith
  192. Thöne, Raphael D., Universität für Musik und darstellende Kunst Wien/Universität Wien, 2007: Zum symphonischen Schaffen Malcolm Arnolds
  193. Thomson, Susan Nichols, University of North Carolina at Greensboro, 1999: The Solo Piano Music of Lukas Foss
  194. Toliver, Brooks, University of California, Los Angeles, 1994: Debussy After Symbolism: The Formation of a Nature Aesthetic, 1901-1913
  195. 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)
  196. Torrente, Alvaro, University of Cambridge, 1997: The Sacred Villancico in Early Eighteenth-Century Spain: The Repertory of Salamanca Cathedral
  197. 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
  198. Traupman, Carol A., Cornell University, 1995: I dimenticati: Italian Comic Opera in the Mid-Nineteenth Century
  199. Tsakalidis, Stylianos, PhD, University of Macedonia, 2012: Title: A modern process of performance practice and its implementation on Dimitris Dragatakis’s concert for solo violin and orchestra
  200. Upton, Elizabeth Randell, University of North Carolina at Chapel Hill, 2001: The Chantilly Codex (F-Ch 564): The Manuscript, Its Music, Its Scholarly Reception
  201. 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
  202. Väisälä, Olli, Sibelius Academy, Helsinki, 2004: Prolongation in Early Post-Tonal Music: Analytical Examples and Theoretical Principles
  203. Valdez, Stephen Kenneth, University of Oregon, 1992: The Development of the Electric Guitar Solo in Rock Music, 1954-1971
  204. 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”
  205. van der Hoven, Lena, Humboldt University, Berlin, 2013: Musikalische Repräsentationspolitik in Preußen (1688-1797) – Hofmusik als Inszenierungsinstrument von Herrschaft
  206. Vlastos, George, National and Kapodistrian University of Athens, 2005: The Conception of Greek Antiquity in Early 20th-Century French Music, 1900-1918
  207. Wakelin, Emma Hilary, Royal Holloway, University of London, 1997: De Floridi Virtuosi d’Italia: A Study of Three Italian Madrigal Anthologies of the 1580s
  208. Warfield, Scott Allan, University of North Carolina at Chapel Hill, 1995: The Genesis of Richard Strauss’s Macbeth
  209. Welzel, Martin, University of Washington, 2005: Jeanne Demessieux (1921-1968): A Critical Examination of her Life
  210. Wiering, Frans, University of Amsterdam, 1995: The Language of the Modes: Studies in the History of Polyphonic Modality
  211. Wilde, Howard, Royal Holloway, University of London, 1995: Towards a New Theory of Voice-Leading Structure in Sixteenth-Century Polyphony
  212. Wilkinson, Edward Nigel, Royal Holloway College, University of London, 1983: Theory and Practice: An Interpretation of Serialism in the Music of Luigi Dallapiccola
  213. Williamon, Aaron, Royal Holloway, University of London, 1999: Preparing for Performance: An Examination of Musical Practice as a Function of Expertise
  214. Willmett, John Patrick, University of Edinburgh, 2007: The organ chorales of Johann Pachelbel: origins, purpose, style
  215. 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
  216. Wilson, Alexandra May, Royal Holloway, University of London, 2002: The Puccini Problem: Nationalism, Gender and Decadence in Italian Puccini Reception, 1896-1912
  217. Wilton, Peter J. S., Royal Holloway, University of London, 1998: The Transmission of the Alleluia Prosula: Stability, Variation and Change
  218. Windsor, W. Luke, City University, 1995: A Perceptual Approach to the Description and Analysis of Acousmatic Music
  219. Zanovello, Giovanni, Princeton University, 2005: Heinrich Isaac, the Mass “Misericordias Domini”, and Music in Late-Fifteenth-Century Florence
  220. Zeiss, Laurel E., University of North Carolina at Chapel Hill, in progress: Accompanied Recitative in Mozart’s Operas
  221. 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
  222. Zohn, Steven, Cornell University, 1995: The Ensemble Sonatas of Georg Philipp Telemann: Studies in Style, Genre, and Chronology

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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.

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