Music Department Alumni
PhD Recipients and Dissertations 1956-present
- Goldthwaite, Scott (H) “Rhythmic patterns and formal symmetry in the fifteenth century chanson”
- Hughes, David G. (H) “A view of the passing of Gothic music: line and counter-point, 1380-1430”
- Moe, Lawrence (H) “Dance music in printed Italian lute tablatures from 1507 to 1611”
- Heartz, Daniel (H) Sources and forms of the French instrumental dance in the sixteenth century
- Velimirovic, Milos (H) The Byzantine elements in early Slavic chant
- Yellin, Victor (H) The life and operatic works of George Whitefield Chadwick
- Downes, Edward (H) The operas of Johann Christian Bach as a reflection of the dominant trends in opera seria 1750-1780
- Keller, Walter (H) The Italian organ hymn from Cavazzoni to Aresti; a study of the interrelation of Roman plainchant and liturgical keyboard music in the sixteenth and seventeenth centuries
- Brown, Howard (H) The chanson in the French theater of the fifteenth and early sixteenth centuries: moralities, farces, sotties and monologues.
- Wicks, John (H) The motets of Pierre de Manchicourt, ca.1510-1564.
- D’Accone, Frank (H) A documentary history of music at the Florentine Cathedral and Baptistry during the fifteenth century.
- Layton, Billy Jim (H) Italian music for the Ordinary of the Mass, 1300-1450
- Pian, Rulan (H) Musical sources of the Sung dynasty (960-1279)
- Haar, James (H) Musica mundana: variations on a Pythagorean theme
- Slim, H. Colin (H) The keyboard ricercar and fantasia in Italy, c.1500-1550, with reference to parallel forms in European lute music of the same period.
- Jander, Owen (H) Alessandro Stradella and his minor dramatic works
- Churgin, Bathia (H) The symphonies of G.B. Sammartini
- Crawford, John (H) The relationship of text and music in the vocal works of Schoenberg, 1908-1924
- Bonta, Stephen (H) The church sonatas of Giovanni Legrenzi
- Chapman, Catherine (H) Andrea Antico
- Waldbauer, Ivan (H) The cittern in the sixteenth century and its music in France and the low countries
- Archibald, Bruce (H) Harmony in the Early Works of Alban Berg
- Berman, Laurence (H) The evolution of tonal thinking in the works of Claude Debussy
- Fuller, David (H) Eighteenth-century French harpsichord music
- Bonvalot, Anthony (H) The round of Shakespeare’s age in England and Scotland: three collectors and their store, 1580-1612
- Gallucci, Joseph (H) Festival music in Florence, ca. 1480--ca. 1520: canti carnascialeschi, trionfi, and related forms
- Kanazawa, Masakata (H) Polyphonic music for vespers in the fifteenth century
- Peterson, Floyd (H) Johann Hermann Schein’s Cymbalum Sinoium: a liturgico-musical study.
- England, Nicholas (H) ) Music among the zu wa-si of South West Africa and Botswana
- Armstrong, James (H) The Vesper psalms and magnificats of Maurizio Cazzati (ca. 1620-1678)
- Schwager, Myron (H) Beethoven’s arrangements: the chamber works
- Planchart, Alejandro (H) The repertory of tropes at Winchester
- Cardamone, Donna Gina (H) The canzone villanesca alla Napolitana : and related Italian vocal part-music: 1537-1570
- Connolly, Thomas Hugh (H) The Old Roman Introits
- Hill, John Walter (H) The life and works of Francesco Maria Veracini.
- Lindgren, Lowell Edwin (H) A bibliographic scrutiny of dramatic works set by Giovanni and his brother Antonio Maria Bononci
- Riesman, Michael De Kay (C) Phases, for electronically modulated pianoforte.
- Troy, Charles Edgar (H) The comic intermezzo in eighteenth-century Italian opera seria.
- Wright, Craig Milton (H) Music at the Court of Burgundy, 1364-1419
- Adams, Frank John (H) The place of the piano concerto in the career of Mozart: Vienna, 1782-86
- Behrens, Jack (C) Accelerando
- Kelly, Thomas Forrest (H) Responsory tropes
- Knibbs, Lester Allyson (C) Libra variations, PSI-1, for winds, strings and percussion
- Kovarik Jr., Edward George (H) Mid fifteenth-century polyphonic elaborations of the plainchant Ordinarium missae
- Schmidt, Carl Brandon (H) The operas of Antonio Cesti
- Sur, Donald Young (C) The sleepwalker’s ballad; an accompanied recitative for soprano and chamber ensemble
- Price, Curtis Alexander (H) Musical practices in Restoration plays, with a catalogue of instrumental music in the plays, 1665-1713.
- Tawa, Nicholas Edward (H) Musical practices in Restoration plays, with a catalogue of instrumental music in the plays, 1665-1713
- Wiley, Roland John (H) Tchaikovsky’s Swan lake: the first productions in Moscow and St. Petersburg
- DeFord, Ruth Irene (H) Ruggiero Giovannelli and the madrigal in Rome, 1572-1599
- Friedmann, Michael Louis (C) Duos; settings of poems by Rimbaud and Celan: for male and female voice, flute, clarinet in B-flat, piano and string trio.
- McGilvra, Douglas Price (C) Violin concerto
- Shapiro, Anne Dhu (H) The Tune-Family Concept in British-American Folk-Song Scholarship
- Vennum, Jr., Thomas (H) Southwestern Ojibwa music
- Youens, Susan Lee (H) Music and religion in the French Reformation and Counter-Reformation
- Burton, David Bryant (C) Nocturnes: 8 songs on poems by W.S. Merwin : for soprano and string trio
- McClary, Susan Kaye (H) The transition from modal to tonal organization in the works of Monteverdi
- Kabakov, Joel (C) El jaleo: dance suite for orchestra
- MacMillan, Alan John (C) Symphony - 1976
- Patterson, David Nolte (C) Chantier: for violin and piano; The celery flute player: for piano; Pied beauty: for voices, tintinnabula and magnetic tape
- Thow, John Holland (C) Winged words : for voice and chamber orchestra
- Yung, Bell (H) The music of Cantonese opera
- Banchs, William Henry (C) Concerto for bass clarinet and piano
- Erb, James Bryan (H) Orlando di Lasso’s first Magnificat publicatio : a contribution to the complete edition, with commentary
- Karchin, Louis Samuel (C) Attuned to the times and Concerto for violin and seven instruments
- St. Clair, Richard Collins (C) Sonata for piano
- Block, Geoffrey Holden (H) The genesis of Beethoven’s piano concertos in C major (op. 15) and B-flat major (op. 19): chronology and compositional process
- Bushnell, Vinson Clair (H) Daniel Read of New Haven (1757-1836): the man and his musical activities
- Davis, John Douglas (C) Token, for voice and orchestra
- Freeman, James (H) Opera production in Palermo, 1809 to 1830 : a theater and a collection of scores
- Greenberg, Gary Joseph (C) Dobeca
- Hepokoski, James Arnold (H) The compositional history of Verdi’s Falstaff : a study of the autograph score and early editions
- Leon, Garby (C) Radiation
- Love, Jacob Wainwright (C) Samoan variations
- Moshell, Gerald (H) Death,non-death, and rebirth in the neo-classical tragedies of Igor Stravinsky
- Provine Jr., Robert C. (H) Chinese ritual music in Korean sacrificial rites : music palingenesis in the early fifteenth century
- Salerni, Paul Frank (C) String quartet
- Sirota, Robert Benson (C) Bontshe the silent: a chamber opera in three scenes
- Cacioppo, Curtis P. (C) Eclogue: symphonic poem for piano
- Gajewski, Fred (C) The work sheets to Chopin’s Violoncello sonata
- Iwatake, Toru (C) Perpetuum mobile: for 16 soloists and Divertimento : for chamber orchestra
- Reichard, Kathryn Louise (H) Aspects of Weimar’s musical life, 1775-1807
- Wissmuller, Jan C. (C) Kassandra: for soprano and 15 players
- Blauvelt, Peter Oliver C. (C) Third piano sonata [op. 28]
- Capwell, Charles (H) Indian street music sound recording: the Bauls of Bengal
- Bridges, Thomas Whitney (H) The publishing of Arcadelt’s first book of madrigals microform
- Lee, Thomas Oboe (C) Phantasia for Elvira Shatayev
- Mukherjee, Nalin T. (C) The quaternity, for large orchestra
- Spilsted, Gary Richard (H) The paleography and musical repertory of Codex Tridentinus 93
- Adams, John (C) Concerto for violin and orchestra
- Cain, Elizabeth Ann (H) English chant tradition in the late Middle Ages: the introits and graduals of the temporale in the Sarum gradual
- Harris, Michael Wesley (H) The advent of gospel blues in black old-line churches in Chicago, 1932-33, as seen through the life and mind of Thomas Andrew Dorsey
- Mauk Jr., Frederick Henry (H) Aspiring to the condition of language : an examination of aesthetic considerations in the application of structural (semiological) principles to musical problems
- Wilson, John Kenneth (H) Selected Eighteenth-Century Settings of Metastasio’s Libretto
- Brief, Todd (C) Cantares: for soprano and large orchestra
- Bourland, Roger (C) Nostos, Three dark paintings, and Scenes from Redon
- Dautricourt, Jean-Pierre (C) Ceremony 2: for orchestra
- Grayson, David Alan (H) The genesis of Debussy’s Pelléas et Mélisande: a documentary history of the opera, a study of its sources, and "Wagnerian" aspects of its thematic revisions
- Mead Jr., Ernest C. (H) The instrumental ensemble canzonas of Girolamo Frescobaldi
- Myska, David Bernard (C) Ballade: for piano
- Reich, Amy (C) The one turning: [for mezzo-soprano and chamber orchestra]
- Smith, Gregory E. (H)Homer, Gregory, and Bill Evans?: the theory of formulaic composition in the context of jazz piano improvisation
- Swain, Joseph Peter (H) Limits of musical structure
- White, Pamela Cynthia (H) Idea and representation: source-critical and analytical studies of music, text and religious thought in Schoenberg’s Moses und Aron
- Gilliam, Bryan Randolph (H) Richard Strauss’s Daphne microform: opera and symphonic continuity
- MacPherson, William Alan (H) The music of the English country dance, 1651-1728 microform: with indexes of the printed source
- Meadors Jr., James M. (H) Italian lute fantasias and ricercars printed in the second half of the sixteenth century
- Pevsner, Mark (C) Trio: for violin, viola, and piano
- Hamel, Keith Aime (C) Obsessions 2: for string quartet
- Merkley, Paul Alfred (H) Conflicting assignments of antiphons in Italian tonaries
- Saunders Jr., Harris S. (H) The repertoire of a Venetian opera house (1678-1714): the Teatro Grimani di San Giovanni Grisos
- Cave 3rd, Lawrence Harold (C) Purgatory: a chamber opera in one act after Yeats
- Diamond, Joseph Aloysius (H) The tradition of three tropes
- Larson, Keith Austin (H) The unaccompanied madrigal in Naples from 1536 to 1654
- Meconi, Honey (H) Style and authenticity in the secular music of Pierre de la Rue
- Romeo, James Joseph (C) Sextet: for flute, Bb clarinet, bassoon, violin, viola, cello
- Boone, Graeme MacDonald (H) Dufay’s early chansons: chronology and style in the manuscript Oxford, Bodleian Library, Canonici misc. 213
- Hill, Robert S. (H)The Möller manuscript and the Andreas Bach book: two keyboard anthologies from the circle of the young Johann Sebastian Bach
- McKinley, Thomas Lawrence (C) Shadows
- Riggs, Robert Daniels (H) Articulation in Mozart’s and Beethoven’s sonatas for piano and violin: source-critical and analytic studies
- Shattenkirk, Ray (C) The raven variations
- Steinberg, Russell Allen (C) String quartet no. 1
- Bonds, Mark Evan (H) Haydn’s false recapitulations and the perception of sonata form in the eighteenth century
- Braus, Ira Lincoln (H) Textual rhetoric and harmonic anomaly in selected Lieder of Johannes Brahms
- Lam, Joseph Sui Shing (H)Creativity within bounds: state sacrificial songs from the Ming dynasty (1368-1644 A.D.)
- Samuel, Virginia Elizabeth (C) Symphony
- Urquhart, Peter Whitney (H) Canon, partial signatures, and "Musica ficta" in works by Josquin DesPrez and his contemporaries
- Yourke, Peter Hannon (C) Sheep in fog
- Kyr, Robert Harry (C) The fifth season: (Symphony no. 3)
- Lano, Stephen (C) Sinfonia eikasia
- Littlefield, James Patrick (C) String quartet no. 1
- Melamed, Daniel R. (H) J.S. Bach and the German motet
- Noland, Gary Lloyd (C) String quartet in four movements, op. 12
- Ossi, Massimo Michele (H) Claudio Monteverdi’s concertato technique and its role in the development of his musical thought
- Shreffler, Anne Chatoney (H) Webern’s Trakl settings
- Yim, Jay Alan (C) Geometry and delirium: for small chamber orchestra & electronics
- Eldridge, William Kilgore (C) String Quartet
- Marks, Martin Miller (H) " Film Music of the Silent Period 1895-1924"
- Mertz, Margaret Stover (H) "History, Criticism and the Sources to Benjamin Britten's The
Rape of Lucretia"
- Woolf, Randall Benson (C) Chaotic Regime for chamber Orchestra
- Klumpenhouwer, Henry J. (T) "A Generalized Model of Voice-Leading for Atonal Music"
- McGrann, Jeremiah W.R. (H) "Beethoven's Mass in C., Op. 86"
- Nichols, Jeff William (C) Take-Off, for Clarinet doubling Bass Clarinet, Percussion and String Trio
- Panetta Jr., Vincent J. (H) "Hans Leo Hassler and the Keyboard Toccata: Antecedents, Sources, Style"
- Stillman, Amy K. (E) "Himenetahiti: Ethnoscientific and Ethnohistorical Perspectivess on Choral Singing and Protestant Hymnody in the society Islands, French Polynesia"
- Boros, James (C) Bivouac for Reciter and Chamber Ensemble
- Burns, Lori A. (T) "J.S. Bach's Choral Harmonizations of Modal Cantus Firmi"
- Kilroy, David M. (H) "Kurt Weill on Broadway: The Postwar Years (1945-50)"
- Spragg, Deborah T. (C) Face to Face (Ten Sappho Fragments) for Soprano and Five Instruments
- Stadelman, Jeffrey (C) Beatrice for Mezzo-soprano, Bass Clarinet, Violin and Piano
- Wesner, Amanda Z. (H) "The Chansons of Loyset Compere: Authenticity and Stylistic Development"
- Durante, Sergio (H) "Mozart and the Idea of Vera Opera: A Study of La Clemenza Di Tito"
- Kurth, Richard Burton (T) "Mosaic Isomorphism and Mosaic Polyphony: Balance and Imbalance in Schoenberg's Twelve-Tone Rhetoric"
- Wollny, Peter (H) "Studies in the Music of Wilhelm Friedemann Bach: Sources and Style"
- Alexander, Peter (C) Symphony No. 1
- Brandt, Anthony (C) Septet-a-Tete for Flute, Bass Clarinet, Two Percussion, Piano, Violin, and Cello
- Beller-McKenna, Daniel (H) "Brahms, the Bible, and Post-Romanticism: Cultural Issues in Johannes Brahms' Later Settings of Biblical Texts, 1877-1896"
- Leafstedt, Carl (H) "Music and Drama in Bela Bartok's Opera Duke Bluebeard's Castle"
- Neill, Roger (C) Enemy Way Music
- Abdel-Gawad, Riad (C) Taqaseem for Chamber Orchestra
- Amati-Camperi, Alexandra (H) "An Italian Genre in the Hands of a Frenchman: Philippe Verdelot as Madrigalist, with Special Emphasis on the Six-Voice pieces"
- Kalogeras, Alexandros (C) Anax Apollon
- Kozachek, Thomas (H) "The Repertory of Chant for Dedicating Churches in the MIddle Ages: Music, Liturgy, and Ritual"
- Jun Fu Road to Shu
- Stone, Anne (H) "Writing Rhythm in Late Medieval Italy: Notation and Musical Style in the Manuscript Modena Alpha.M.D, 24"
- Abbate, Elizabeth (H) "Myth, Symbol, and Meaning in Mahler's Early Symphonies"
- Andre, Naomi Adele (H) "Azucena, Eboli, and Amneris: Verdi's Writing for Women's Lower Voices"
- Awad, Emil (C) Zazil for Orchestra
- Greer, Mary (H) "The Sacred Duets and Terzets of Johann Sebastian Bach: A Study of Genre and Musical Text Interpretation"
- Gokita, Takehiko (C) Autumn Tear for Orchestra
- Johnson, John A. (H) "Gershwin's 'American Folk Opera': The Genesis, Style, and Reputation of Porgy and Bess (1935)"
- Koto, Takashi (C) The Distant Stars for Orchestra
- Lukes, Roberta (H) "The Poeme electronique of Edgard Varese"
- Rindfleisch, Andrew (C) Fun House
- Risinger, Mark (H) "Handel's Compositional Premises and Procedures: Creative Adaptation and Assimilation in Selected Works, 1733-44"
- Yu, Siu Way (H) "The meaning and Cultural Functions of Non-Chinese Musics in the 18th -Century Manchu Court"
- Ahn, Suhnne (H) "Genre, Style, and Compositional Procedure in Beethoven's 'Kreutzer' Sonta"
- Davis, Mary (H) "Irony, Logic and Form" Sources for the Esprit Galois in the Piano Works of Erik Satie"
- Koczela, Jason (C) Octet
- Krims, Adam (T) "Some Structuralist and Post-Structuralist Models for Music Theory"
- Morrison, Ann (E) "Music That Moves Between Worlds: Wabanaki Music as Tradition and History"
- Shimizu, Kensaku (C) Orchestral Work
- Gallagher, Sean (H) "Models of Varietas: Studies in Style and Attribution in the Motets of Johannes Regis and His Contemporaries"
- Kozachek, Laura (H) "The Specialnik Dodex, Hradec Kralove, Krajske Muzeum Knihovna (Regional Museum Library), MS II A7"
- McGuire, Charles (H) "Epic Narration: The Oratorios of Edward Elgar"
- Raul Romero (E) "Debating the Pasts: Music, Identity and Mestijaje in the Central Peruvian Andes"
- Andrew Shenton (H) "The Unspoken Word: Olivier Messiaen's 'Langage Communicable"
- Kathryn Welter (H) "Johann Pachelbel: Organist, Teacher, Composer: A Critical Reexamination of His Life, Work, and Liturgical Significance"
- Kotilaine, Jennifer Baker (H) "Culture Bearers, Culture Brokers: Ratilio and folk Music in Post-Soviet Lithuania"
- Bisson, Noel (H) "English Polyphony for the Virgin Mary: The Votive Antiphon, 1420-1500"
- Horne, David (C) A Friend of the People--Opera in Three Acts with a Prologue
- Hulse, Brian (C) Clarinet Quintet
- Kidger, David (H) "The Masses of Adrian Willaert: A Critical Study"
- Neidhofer, Christoph (T) "An Approach to Interrelating Counterpoint and Serialism in the Music of Igor Stravinsky, Focusing on the Principal Diatonic Works of his Transitional Period"
- Stallmann, Kurt (C) String Quartet #1
- Taddie, David (C) Mutant: for Chamber Orchestra and Electronic Tape
- Al-Zand, Karim (T) "The Improvisational Style of Julian 'Cannonball' Adderley"
- Chen, Jen-yen (H) "The a cappella Style in Viennese Sacred Music of the Later 18th Century"
- Fisher, Alexander (H) "Music in Counter-Reformation Augsburg: Musicians, Rituals and Repertories in a Religiously Divided City"
- Gollin, Edward (T: November, 2000) "Representations of Space and Conceptions of Distance in Transformational Music Theories"
- Gosman, Alan (T) "Compositional Approaches to Tonal Canon"
- Hakenberg, Stefan (C) Oder River Image
- Holland, Jonathan (C: November, 2000) Actions Rendered: Interpretations of Pollock for Three Orchestras
- Ito, Hiroko (C) Aperture II for Eleven Players
- Tang, Patricia (E) "Masters of the Sabar: Wolof Griots in Contemporary Senegal"
- McLoskey, Lansing (C) (November, 2001) Requiem, ver. 2.001x
- James, April (H) "Her Highness' Voice: Maria Antonia, Music and Culture at the Dresden Court"
- Cohen, Judah (E) "Becoming a Reform Jewish Cantor: a Study in Cultural Investment"
- Gyger, Elliott (C) Polishing Firewood for cello and ensemble
- Roe-Min Kok (H) "Romantic Childhood, Bourgeois Commercialism and the Music of Robert Schumann"
- Arni Ingolfsson (H) "'These Are The Things You Never Forget': The Written and Oral Traditions of Icelandic Tvísöngur"
- Thomas Peattie (H) (November, 2002) "The fin-de-siecle metropolis, memory, modernity and the music of Gustav Mahler"
- Andrew Talle (H)"J. S. Bach's Keyboard Partitas and Their Early Audience"
- Stephanie Treloar (H) "The Madrigals of Giaches de Wert: Patrons, Poets and Compositional Procedures"
- Jeannie Guerrero (T) "Text-setting techniques in Luigi Nono's choral work (1956-1960)"
- Erik Spangler (C) Mandala of the Four Directions: a ritual cantata for 4 singers and 4 ensembles
- Richard Whalley (C), A Wisp of Spring Cloud
- Kiri Miller (E) "A Long Time Traveling: Song, Memory, and the Politics of Nostalgia in the Sacred Harp Diaspora"
- Matthew Peattie (H) "The Beneventan Antiphon and the Influence of Beneventan Style in the South Italian Office"
- Lara Pellegrinelli (E) "The Song is Who? Beyond 'Doubleness' in Mainstream, Contemporary Jazz Singing"
- Julia Randel (H) (November, 2004) "Visual Hearing: Balanchine's Choreography as Analysis and Interpretation of Stravinsky's Late Works"
- Ken Ueno (C) Iku
- Cynthia Gonzales (T) (November 2005) "Text-Music Relationships in the Early Songs of Arnold Schoenberg"
- David Kaminsky (E) (November 2005) "Hidden Traditions: Conceptualizing Swedish Folk Music in the Twentieth Century"
- Zoe Lang (H) (November 2005) "Light" Music and Austrian Identity: the Strauss Family Legacy in Austrian Politics and Culture, 1918-1938
- Helen Lee (C) (November 2005) reflections
- Lei Liang (C) septet
- Christina Linklater (H) Popularity, Presentation and the Chansonnier Saint-Germain-des-Prés
- Bettina Varwig (H) “Expressive Forms: Rethinking Rhetoric in the Music of Heinrich Schütz”
- Du Yun (C) Zolle: a music-theatre
- Aaron Allen (H) (November 2006) “Beethoven’s Music in Nineteenth-Century Italy: A Critical Review
of its Reception through the Early 1860s"
- David Black (H) “Mozart and the Practice of Sacred Music 1781–91”
- Michael Cuthbert (H) (November 2006) “Trecento Fragments and Polyphony Beyond the Codex"
- Richard Giarusso (H) “Dramatic Slowness: Adagio Rhetoric in Late Nineteenth-Century Austro-German Music”
- Christopher Jon Honett (C) Courtesy of Blue
- Natalie Kirschstein (E) “Reclaiming the Future: Communal Space, Collective Memory, and Political Narrative
on Uruguay’s Murga Stage”
- Jonathan Kregor (H) “Franz Liszt and the Vocabularies of Transcription, 1833–65”
- Sarah Morelli (E) “‘From Calcutta to California’ Negotiations of Movement and Meaning in Kathak Dance”
- Jessie Rodin (H)“Josquin and the Polyphonic Mass in the Sistine Chapel”
- Julie Rohwein (C) Shattered Glass
- Eliyahu Shoot (C) (March 2007) Passage. A Musical Portfolio
- Benjamin Steege (T) “Material Ears: Hermann von Helmholtz, Attention, and Modern Aurality”
- Jonathan Wild (T) (March 2007) “Tessellating the Chromatic: Combinatorial Resources of Pitch Space”
- Aaron Berkowitz (E) Cognition in Improvisation: the Art and Science of Spontaneous Musical Performance
- Brigid Cohen (H) (November 2007) “Migrant Cosmopolitan Modern: Cultural Reconstruction in Stefan Wolpe’s Musical Thought, 1919-1972”
- Aaron Girard (H) (November 2007) “Music Theory in the American Academy”
- Mary Greitzer (T) (November 2007) “Tormented Voices”
- Robert Hasegawa (T) “Just Intervals and Tone: Representation in Contemporary Music”
- Anton Vishio (T) “Asymmetries in Post-Tonal Counterpoint”
- Matthew Clayton (E) (March 2009) “M-Base: Envisioning Change for Jazz in the 1980s and Beyond
- Peter Gilbert (C) (November 2008) The bold arch of undreamt bridges assembled compositions
- Jose Luis Hurtado (C) Letargo e Instante for piano soloist and large ensemble
- Nicholas Vines (C) (November 2008) The Hive A Chamber Opera in Seven Tableaux
- Emily Abrams Ansari (H) (March 2010) "Masters of the President's Music": Cold War Composers and the U.S,Government
- William Bares (E) (November 2009) Eternal Triangle: American Jazz in European Postmodern
- Petra Gelbart (E) Learning Music, Race and Nation in the Czech Republic
- Marc Gidal (E) Crossing and Purifying Boundaries: The Music of Umbanda and Quimbanda within the Afro-Gaucho Religious Community of Southernmost Brazil
- Hannah Lash (C) Portfolio of Compositions
- Drew Massey (H) An Unobtrusive Minister of Genius: John Kirkpatrick and the Editing of Contemporary American Music
- Karola Obermueller (C) Pressure and Shadow
- Adam Roberts (C) Works 2005-2010
- Matthias Roeder (H) (March 2010) Music, Politics, and Public sphere in Late 18th-Century Berlin
- Dominique Schafer (C)(November 2009) Gravity as the Source of Lightness: A set of seven compositions
- David Trippett (November 2009) Wagner’s Melodies: Aesthetics and Materialism in the Construction of German Musical Identity, 1840-1860.
- Ryan Banagale (H), “Rhapsodies In Blue: New Narratives for an Iconic American ‘Composition’”
- Davide Ceriani (H), “Italianizing the Metropolitan Opera House: Giulio Gatti-Casazza’s Era and the Politics of Opera
in New York City, 1908-1935”
- Jean-Francois Charles (C), Music Composition: An Interactive Approach
- Ellen Exner (H), “The Forging of a Golden Age: King Frederick the Great and Music in Berlin 1732-1756”Bert van Herck, Nessuno Sentiva
- Sheryl Kaskowitz (E), “As We Raise Our Voices: A Social History and Ethnography of ‘God Bless America,’
- Ulrich Kreppein (C), Soundworlds, World of Sounds
- Evan MacCarthy (H), “Music and Learning in Early Renaissance Ferrara, c. 1430-1470”
- Alexandra Monchick (H), “Silent Opera: The Manifestation of Silent Film Techniqus in Opera during the Weimar
- Sasha Siem (C), Works, 2006-2011
- Bert van Herck (C), Nessuno Sentiva
- Tolga Yayalar (C), A Book of Ingenious Devices: A Musical Portfolio
- Anna Zayaruznaya (November, 2010) (H), “Form and Idea in the Ars Nova Motet”
- Corinna Campbell (E), "Personalizing Tradition: Surinamese Maroon Music and Dance
in Contemporary Urban Practice"
- Glenda Goodman (H), "American Identities in an Atlantic Musical World: Transhistorical Case Studies"
- Michael Heller (E), "Reconstructing We: History, Memory and Politics in a Loft Jazz Archive"
- Katherine Lee (E) "Encounters with Samulnori: The Cultural Politics of South Korea's Dynamic Percussion Genre"
- Frank Lehman (T), "Reading Tonality Through Film: Transformational Hermeneutics and the Music of Hollywood."
- Hillary Zipper (C), Composition Portfolio
- Andrea Bohlman (H) (November 2012), "Activism and Music in Poland, 1978-1989"
- William Cheng (H) (November 2012), "Technologies of Transgression and Musical Play in Video Game Cultures"
- Louis Epstein (H), "Toward a Theory of Patronage: Funding for Music Composition in France, 1918-1939"
- Ashely Fure (C), Boundary Notions: A Sonic Arts Portfolio
- John McKay (T), (November 2012) "Universal Music-Making: Athanasium Kircher and Musical Thought in the Seventeenth Century"
- Daniel Mekonnen (AM)
- Matthew Mugmon (H), "The American Mahler: Musical Modernism and Transatlantic Networks, 1920-1960"
- Gina Rivera (H), "Les filles de l'Opéra in the Early Eighteenth Century,"
- Meredith Schweig (E), "The Song Readers: Rap Music and the Politics of Storytelling in Taiwan"
- Gabriele Vanoni (C), Sculpting Sounds and Colors: Works 2008-2013
- Edgar Barroso, "Transdisciplinary Collaboration, Gestural Embodiment of Sound and Social Context. A Framework for a Sonic Portfolio"
- Christopher Chowrimootoo (November 2013) “Middlebrow Modernism: Britten’s Operas and the Great Divide”
- Elizabeth Titrington Craft, "Becoming American Onstage: Broadway Narratives of Immigrant Experiences in the United States"
- Andrew Friedman, "Momentum: A Phenomenology of Musical Flow and Meaning"
- Hannah Lewis, "Negotiating the Soundtrack: Music in Early Sound Film in the U.S. and France, 1926-1934"
- Gavin Williams (November 2013) “Arts of Noise: Sound and Media in Milan ca. 1900”
- Aaron Allen, University of North Carolina Greensboro
- Karim Al-Zand, Shepherd School of Music, Rice University
- Emily Abrams Ansari, University of Western Ontario
- Ryan Banagale, Colorado College
- William Bares, Univesity of North Carolina, Asheville
- Aaron Berkowitz, Harvard Medical School
- Noel Bisson, Harvard University
- David Black, Research Fellow, Homerton College, Cambridge University
- Andrea Bohlman, University of North Carolina, Chapel Hill
- Anthony Brandt, Shepherd School of Music, Rice University
- Corinna Campbell, Williams College
- Davide Ceriani, Rowan University
- Will Cheng, Dartmouth College
- Christopher Chowrimootoo, University of Notre Dame
- Brigid Cohen, New York University
- Judah Cohen, Indiana University
- Myke Cuthbert, MIT
- Louis Epstein, St. Olaf College
- Ellen Exner, University of South Carolina
- Alexander Fisher, University of British Columbia
- Ashley Fure, Dartmouth College
- Sean Gallagher, New England Conservatory
- Richard Giarusso, Peabody Conservatory
- Marc Gidal, Ramapo College of New Jersey
- Peter Gilbert, University of New Mexico
- Ed Gollin, Williams College
- Cynthia Gonzales, School of Music, Texas State University
- Alan Gosman, Michigan State University
- Mary Greitzer, Eastman School of Music
- Jeannie Guerrero, Eastman School of Music
- Robert Hasegawa, McGill University
- Jonathan Holland, Berklee College of Music
- Brian Hulse, Christopher Newsport University
- Jose Luis Hurtado, University of New Mexico
- Arni Ingolfsson, Iceland Academy of the Arts
- David Kaminsky, University of California, Merced
- David Kim, Whitman University
- Roe-Min Kok, McGill University
- Jon Kregor, University of Cincinnati
- Zoe Lang, University of Southern Florida
- Hannah Lash, Yale University
- Katherine I Lee, University of California, Davis
- Frank Lehman, Tufts University
- Hannah Lewis, University of Texas, Austin
- Lei Liang,
University of California, San Diego
- Christina Linklater, Harvard University ( Houghton Library)
- Evan MacCarthy, University of West Virginia
- Drew Massey, SUNY Binghamton
- Lansing McLoskey, Frost School of Music, University of Miami
- Charles McGuire, Oberlin College
- John Z McKay, University of South Carolina School of Music
- Kiri Miller, Brown University
- Alexandra Monchick, California State University, Northridge
- Sarah Morelli, Lamont School of Music, University of Denver
- Ann Morrison Spinney, Boston College
- Rowland Moseley, Dartmouth College(one-year appointment)
- Matthew Mugmon, University of Arizona
- Christoph Neidhöfer, McGill University
- Karola Obermueller, University of New Mexico
- Matthew Peattie, University of Cincinatti
- Thomas Peattie, Boston University
- Lara Pelligrinelli, University of Richmond
- Julia Randel, Hope College, MI
- Gina Rivera, postdoctoal position, UPenn
- Adam Roberts, Istanbul Technical University, Centre for Advanced Research in Music
- Jesse Rodin, Stanford University
- Meredith Schweig, MIT (post doc fellow)
- Eliyahu Shoot, Tulane University
- Erik Spangler, Maryland Institute College of Art
- Kurt Stallmann, Rice University
- Benjamin Steege, Columbia University
- Andrew Talle, Peabody Conservatory; Johns Hopkins University
- Patricia Tang, MIT
- Wenqi Tang, Hope College (post-doc)
- David Trippett, Bristol University, UK
- Ken Ueno, UC Berkeley
- Gabriele Vanoni, Berklee College of Music
- Bettina Varwig, King's College, London
- Nicholas Vines, Sydney Grammar School, NSW
- Anton Vishio, NYU Steinhardt
- Richard Whalley, University of Manchester, England
- Jon Wild, McGill University
- Du Yun, SUNY Purchase
- Anna Zayaruznaya, Yale University
Vanessa Lann received the John Knowles Paine Traveling Fellowship to study composition at the Konoinklijk Conservatorium of The Hague.
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Sara Jobin received a John Knowles Paine Traveling Fellowship to study conducting at the Pierre Monteux Conducting School in Hancock, Maine, and in San Francisco with Alasdair Neale, Assistant Conductor of the San Francisco Symphony.
Evan Christ received a John Knowles Paine Traveling Fellowship to study as a special student at the Liszt Academy in Budapest, Hungary in order to further develop his musicianship and conducting skills.
Aras Lapinskas received a John Knowles Paine Traveling Fellowship to spend the summer studying Lithuanian folklore an dfolk music in Vilnius, Lithuania.
Sam Hilton received a John Knowles Paine Traveling Fellowship to pursue ethnomusicological research in Vietnam, primarily at the Hanoi Conservatory.
Geoffrey Shamu received a John Knowles Paine Traveling Fellowship to study trumpet in Paris with Pierre Thibaut and Baroque trumpet performance practice with teachers in London and Cologne.
Matthew Benjamin Gelbart received a John Knowles Paine Traveling Fellowship to pursue musicological research in London, Berlin, and Krakow.
Simon Tom received a John Knowles Paine Traveling Fellowship to study piano performance in London wiht Maria Curcio and to travel to musical historical sites in Austria and elsewhere.
Michael Puri received a John Knowles Paine Traveling Fellowship for further study at several European music schools.
Juliana Trivers received a John Knowles Paine Traveling Fellowship to study composition in Paris with composer Betsy Jolas.
Luna Woolf received a John Knowles Paine Traveling Fellowship for the study of composition in France.
Sami Shumays received a John Knowles Paine Traveling Fellowship to study Arab music with Simon Shaheen in New York City.
Iris Lan received a John Knowles Paine Traveling Fellowship to study representations of the tango and other Western ballroommusic and dance in East Asia.
Shawn Feeney received a John Knowles Paine Traveling Fellowship to study at the Elam School of Art at the University of Auckland, New Zealand, towards a Masters Degree in Intermedia.
Jennifer Caine received a John Knowles Paine Traveling Fellowship for travel in conjunction with her study at the Royal College of Music in London.
Jennifer Lee received a John Knowles Paine Traveling Fellowship for travel in Europe in conjunction with her study at Oxford University.
John A. Bachman received a John Knowles Paine Traveling Fellowship to study North Indian classical drumming in Nepal.
Sarah Darling received a John Knowles Paine Traveling Fellowship to study viola and baroque violin performance with Nobuko Imai at the Conservatorium van Amsterdam.
Christopher Trapani received a John Knowles Paine Traveling Fellowship to support his postgraduate composition studies in Europe.
Kristin Naragon received a John Knowles Paine Traveling Fellowship to attend the McGill Summer Organ Academy, the International Summer Music Academy in Leipzig, Germany, and the Smarano International Organ, Clavichord and Improvisation Academy near Milan, Italy.
Sean Henry Ryan received a John Knowles Paine Traveling Fellowship to travel to Stockholm, Sweden to study with Maestro Alan Gilbert of the Royal Stockholm Philharmonic Orchestra.
Meredith Schweig received a John Knowles Paine Traveling Fellowship to support a post-graduate project on the sound, origin, and development of the "quintessential Taiwanese" music voice, 1950-present.
Kathleen Stetson received a John Knowles Paine Traveling Fellowship to study French at the Alliance Francaise in Paris while studying French vocal literature and voice.
Anthony Cheung received a John Knowles Paine Traveling Fellowship to attend the Acanthes composition workshop.
Katharine Dain received a John Knowles Paine Traveling Fellowship for voice study at Guildhall School in London.
Adrien Finlay received a John Knowles Paine Traveling Fellowship to search in Paris and Cambridge.
Moira Hill received a John Knowles Paine Traveling Fellowship for organ study at Trossingen, Germany.
LeMinh Ho received a John Knowles Paine Traveling Fellowship for a Lisztian European tour.
John McMunn received a John Knowles Paine Traveling Fellowship for travel and living expenses at King's College, England.
Alexander Ness received a John Knowles Paine Traveling Fellowship to travel to University of Wisconsin international program - India.
Francesca Anderegg received a John Knowles Paine Traveling Fellowship to visit and study period orchestras in England.
Joseph Fishman received a John Knowles Paine Traveling Fellowship to pursue an M. Phil in historical musicology at the University of Cambridge, studying Dmitri Shostakovich's Thirteenth Symphony as a musical response to the Holocaust.
Anicia Timberlake received a John Knowles Paine Traveling Fellowship to research the reception and treatment of modern international music in the German Democratic Republic.
Berenika Zakrzewski received a John Knowles Paine Traveling Fellowship to study at Oxford University, collaborate with Oxford composers, and conduct research at arts councils in Germany and France.
Stephanie Lai received a Paine Traveling Fellowship to visit Mozart-related sites and hear concerts of Mozart’s work in Salzburg, Vienna, and Prague, and to conduct research on the Elgar Cello Concerto.
Annelisa Pederson received a Paine Traveling Fellowship to support her trip to Zambia where she will conduct ethnographic research and implement a summer music program for children, teens and adults in the Meheba Refugee Settlement.
David Richmond received a Paine Traveling Fellowship to study oboe with George Sakakeeny and to work with orchestral bassoonists in San Francisco, Los Angeles, Seattle and Portland, Oregon.
Emily Zazulia received a Paine Traveling Fellowship to conduct research at the Paris Bibliotheque Nationale
Kurt Crowley (AB ’07) received a John Knowles Paine Traveling Fellowship to conduct research in Punjab, India on Sikh tradition.
Nora Bartosik (AB ’08) received a John Knowles Paine Traveling Fellowship to study piano in Poland, Austria, France, and England.
Julia Cavallaro (AB ’08) received a John Knowles Paine Traveling Fellowship to study voice in England.
Aram Demirjian (AB ’08) received a John Knowles Paine Traveling Fellowship to study conducting and participate in competitions in Czech Republic, France, and Germany.
Paul Kolb (AB ’08) received a John Knowles Paine Traveling Fellowship to study theory and composition at Oxford.
Elizabeth Lim (AB ’08) received a John Knowles Paine Traveling Fellowship to study composition and opera in California, Italy, and Austria
Daniel Gurney (AB ’09) received a John Knowles Paine Traveling Fellowship to study street busking in Europe and to meet with local musical figures.
Matthew Hall (AB ’09) received a John Knowles Paine Traveling Fellowship to research harpsichords in the United Kingdom.
John Kapusta (AB ’09) received a John Knowles Paine Traveling Fellowship to participate in vocal master classes in France, England, and Germany.
Meghan McLoughlin (AB ’09) received a John Knowles Paine Traveling Fellowship for Carnatic vocal study in India.
Matthew Mendez (AB ’09) received a John Knowles Paine Traveling Fellowship to attend the NEC Summer Institute for Contemporary Performance Practice, and to support compositional study in London.
Michael Schachter (AB ’09) received a John Knowles Paine Traveling Fellowship to study Carnatic music in India.
Alex Shiozaki (AB ’09) received a John Knowles Paine Traveling Fellowship to attend a chamber music program in Paris.
Paine Fellowships were awarded to:
Victoria Aschheim (AB '10) to conduct archival research at Paul Sacher Stiftung in Basel, Switzerland.
Rachel Carpentier (AB '10) to support her music teaching at the Kodaikanal International School in India
Forrest O'Connor (AB '10) to conduct arts programming with Sister City's International in Washington, DC
Benjamin Cosgrove (AB '10) to conduct an internship at Greenhouse Studios, Reykjavik, Iceland.
Paine Fellowships were awarded to:
Chad Cannon (AB '11) to conduct research in the Ryukyu Islands in China and in Japan.
Tamar Grader (AB '11) for travel to Switzerland for harpsichord study with Jasper B. Christensen.
David Miller (AB '11) to conduct performance studies and composition research in Vienna.
Paine Fellowships were awarded to:
Andres Ballesteros to participate in the highSCORE Contemporary Music Festival
Irineo Cabreras received a Paine Fellowship to conduct to participate in four summer dance workshops.
Kyle Randall received a Paine Fellowship for research in Italy, and to produce an electronic music project.
Zach Sheets received a Paine Fellowship to attend concerts in Europe and to pursue composition lessons at the American Conservatory at Fontainebleu.
The Davison Prize was awarded to:
Kyra Atekwana to conduct social science research on community and musical theater.
The Davison Prize was awarded to Kathryn Walsh to conduct research on musical theater and political advocacy.