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PhD Recipients and Dissertations
Activities of Recent PhD Recipients



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 drcamperic 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.


  • (no recipients)


  • 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


* Henry J. Klumpenhouwer (T) “A Generalized Model of Voice-Leading for Atonal Music”
* Jeremiah W.R. McGrann (H) “Beethoven’s Mass in C, Op. 86”
* Jeff William Nichols (C) Take-Off, for Clarinet Doubling Bass Clarinet, Percussion and String Trio
* Vincent J. Panetta Jr. (H) “Hans Leo Hassler and the Keyboard Toccata: Antecedents, Sources, Style”
* Amy K. Stillman (E) “Himenetahiti: Ethnoscientific and Ethnohistorical Perspectives on Choral Singing and Protestant Hymnody in the Society Islands, French Polynesia”


* James Boros (C) Bivouac for Reciter and Chamber Ensemble
* Lori A. Burns (T) “J.S. Bach’s Choral Harmonizations of Modal Cantus Firmi”
* David M. Kilroy (H) “Kurt Weill on Broadway: The Postwar Years (1945–50)”
* Deborah T. Spragg (C) Face to Face (Ten Sappho Fragments) for Soprano and Five Instruments
* Jeffrey Stadelman (C) Beatrice for Mezzo-soprano, Bass Clarinet, Violin, and Piano
* Amanda Z. Wesner (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”


* Peter Alexander (C) Symphony No. 1
* Anthonly Brandt (C) Septet-a-Tete for Flute, Bass Clarinet, Two Percussion, Piano, Violin, and Cello
* Daniel Beller-McKenna (H) “Brahams, the Bible, and Post-Romanticism: Cultural Issues in Johannes Brahms’ Later Settings of Biblical Texts, 1877–1896”
* Carl Leafstedt (H) “Music and Drama in Bela Bartok’s Opera Duke Bluebeard’s Castle”
* Roger Neill (C) Enemy Way Music


* Riad Abdel-Gawad (C) Taqaseem for Chamber Orchestr
* Alexandra Amati-Camperi (H) (November 1994 degree) “An Italian Genre in the Hands of a Frenchman: Philippe Verdelot as Madrigalist, with Special Emphasis on the Six-Voice pieces”
* Alexandros Kalogeras (C) Anax Apollon
* Thomas Kozachek (H) “The Repertory of Chant for Dedicating Churches in the MIddle Ages: Music, Liturgy, and Ritual”
* Fu Jun (C) Road to Shu
* Anne Stone (H) “Writing Rhythm in Late Medieval Italy: Notation and Musical Style in the Manuscript Modena Alpha.M.D, 24”


* Elizabeth Abbate (H) “Myth, Symbol, and Meaning in Mahler’s Early Symphonies”
* Naomi Adele Andre (H) “Azucena, Eboli, and Amneris: Verdi’s Writing for Women’s Lower Voices”
* Emil Awad (C) Zazil for Orchestra
* Mary Greer, (H) “The Sacred Duets and Terzets of Johann Sebastian Bach: A Study of Genre and Musical Text Interpretation”
* Takehiko Gokita (C) Autumn Tear for Orchestra
* John A. Johnson (H) “Gershwin’s ‘American Folk Opera’: The Genesis, Style, and Reputation of Porgy and Bess (1935)”
* Takashi Koto (C) The Distant Stars for Orchestra
* Roberta Lukes (H) “The Poeme electronique of Edgard Varese”
* Andrew Rindfleisch (C) Fun House
* Mark Risinger (H) “Handel’s Compositional Premises and Procedures: Creative Adaptation and Assimilation in Selected Works, 1733–44”
* Siu Way Yu (H) “The meaning and Cultural Functions of Non-Chinese Musics in the 18th-Century Manchu Court”


* Suhnne Ahn (H) “Genre, Style, and Compositional Procedure in Beethoven’s ‘Kreutzer’ Sonta”
* Mary Davis (H) “Esprit Gaulois: Erik Satie’s Sports et divertissements in Context”
* Jason Koczela (C) Octet
* Adam Krims (T) “Some Structuralist and Post-Structuralist Models for Music Theory”
* Ann Morrison (E) “Music That Moves Between Worlds: Wabanaki Music as Tradition and History”
* Kensaku Shimizu (C) Orchestral Work


* Sean Gallagher (H) “Models of Varietas: Studies in Style and Attribution in the Motets of Johannes Regis and His Contemporaries”
* Laura Kozachek (H) “The Specialnik Dodex, Hradec Kralove, Krajske Muzeum Knihovna (Regional Museum Library), MS II A7”
* Charles McGuire (H) “Epic Narration: The Oratorios of Edward Elgar”
* Raul R. Romero (E) “Debating the Pasts: Music, Identity and Mestizaje 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”


* Jennifer Baker Kotilaine (H) “Culture Bearers, Culture Brokers: Ratilio and folk Music in Post-Soviet Lithuania”
* Noel Bisson (H) “English Polyphony for the Virgin Mary: The Votive Antiphon, 1420–1500”
* David Horne (C) A Friend of the People—Opera in Three Acts with a Prologue
* Brian Hulse (C) Clarinet Quintet
* David Kidger (H) “The Masses of Adrian Willaert: A Critical Study”
* Christoph Neidhöfer (T) “An Approach to Interrelating Counterpoint and Serialism in the Music of Igor Stravinsky, Focusing on the Principal Diatonic Works of his Transitional Period”
* Kurt Stallmann (C) String Quartet #1
* David Taddie (C) Mutant for Chamber Orchestra and Electronic Tape


* Karim Al-Zand (T) “The Improvisational Style of Julian ‘Cannonball’ Adderley”
* Jen-yen Chen (H) “The a cappella Style in Viennese Sacred Music of the Later 18th Century”


* Alexander Fisher (H) “Music in Counter-Reformation Augsburg: Musicians, Rituals and Repertories in a Religiously Divided City”
* Edward Gollin (T) November, 2000) “Representations of Space and Conceptions of Distance in Transformational Music Theories”
* Alan Gosman (T) “Compositional Approaches to Tonal Canon”
* Stefan Hakenberg, Stefan (C) Oder River Image
* Jonathan Holland (C) November, 2000) Actions Rendered: Interpretations of Pollock for Three Orchestras
* Hikoko Ito (C) Aperture II for Eleven Players
* Patricia Tang (E) “Masters of the Sabar: Wolof Griots in Contemporary Senegal”


* Lansing McLoskey (C) (November, 2001) Requiem, ver. 2.001x
* April James (H) “Her Highness’ Voice: Maria Antonia, Music and Culture at the Dresden Court”
* Judah Cohen (E) “Becoming a Reform Jewish Cantor: a Study in Cultural Investment”
* Elliott Gyger (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-siècle 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) (November 2003) “The Madrigals of Giaches de Wert: Patrons, Poets and Compositional Procedures”
* Jeannie Ma. Guerrero (T) (November 2003) “Text-Setting Techniques in Luigi Nono’s Choral Works (1956 to 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) “Dancing With Stravinsky: Balanchine, Agon, Movements for Piano and Orchestra, and the Language of Classical Ballet”
* 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”


* 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”


* Aaron Berkowitz (E) “Cognition in Improvisation: the Art and Science of Spontaneous Musical Performance”* 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
* 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 (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 (C) Nessuno Sentiva
* Sheryl Kaskowitz (E) “As We Raise Our Voices: A Social History and Ethnography of ‘God Bless America,’ 1918–2010
* Ulrich Kreppein (H) 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 Technique in Opera during the Weimar Republic”
* Sasha Siem (C) Works, 2006–2011
* Tolga Yayalar (C) A Book of Ingenious Devices: A Musical Portfolio
* Anna Zayaruznaya (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”


  • James Blasina (H), “Music and Gender in the Medieval Cult of St. Katherine of Alexandria, c.1050-1300”
  • Sarah Hankins (E), “Black Musics, African Lives, and the National Imagination in Modern Israel”
  • Thomas Wen Tsen Lin (H), “Giasone’s Travels: Opera and Its Performance in the Seventeenth Century”
  • Peter McMurray (E)(November 2014), “Pathways to God: The Islamic Acoustics of Turkish Berlin”
  • Lucille Yehan Mok (H) (November 2014), “Glenn Gould, Oscar Peterson, and New World Virtuosities”
  • Rowland Moseley (T) (November 2014), “The Art of Gigue: Perspectives on Genre and Formula in J.S. Bach’s Compositional Practice”
  • Josiah Wolf Oberholtzer (C), “A Computational Model of Music Composition”
  • Ian Power (C), “Toward a Music of Exegetic Becoming and Actualized Work”
  • Kai Tang (E)(November 2014), “Musical Culture of Chinese Floaters”

A.M. Performance Practice Degree Recipients


  • Scott Metcalfe (November 2005) (AM Performance Practice) Motolinía on music: an anthology, translation, and study of writings about music in the works of fray Toribio de Benavente, called Motolinía (c. 1490-1569)


  • David Kim (AM) Hairpins and Notation as Metaphor
  • Mariam Nazarian (AM) Chopin: In Theory and Practice - A Review and Proposal of Analytical and Pedagogical Methods


Recent PhD Recipients' Activities

Recent alumni who have gone on to join faculties or administration of colleges or universities include [partial list]:

  • Aaron Allen, University of North Carolina Greensboro
  • Karim Al-Zand, Shepherd School of Music, Rice University
  • Alexandra Amati-Camperi, University of San Francisco
  • 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 Pellegrinelli, 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, Emory University
  • 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 

c 2015 President and Fellows of Harvard College