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Year |
Name |
Dissertation Title |
| 2007 | Ljubica Ilic | Music and the Modern Condition: Investigating the Boundaries |
| Lisa Musca | The Piano Fragment and the Decomposing of the Musical Subject from the Romantic to the Postmodern | |
| Erica Scheinberg | Music and the Technological Imagination in the Weimar Republic: Media, Machines, and the New Objectivity | |
| Lawrence Wayte | Bitches Brood: The Progeny of Miles Davis’s Bitches Brew and the Sound of Jazz-Rock | |
| 2006 | Kate Bartel | Portal of the Skies: Four Scenes in the Musical Life of the Virgin Mary ca. 1500-1650 |
| Olivia Mather | "Cosmic American Music": Place and the Country Rock Movement 1965-1974 | |
| Caroline O'Meara | New York Noise: Music in the Postindustrial City, 1978-1985 | |
| 2005 | Andrew Berish | Swinging Transcontinental Modernity, Race, Place In American Dance Music, 1930-1946 |
| J. Lester Feder | "Song of the South" Country Music, Race, Region, and the Politics of Culture 1920-1974 | |
| Elizabeth Lorenzo | Opera and the Ordered Nation: Massenet's Esclarmonde In Performance at the 1889 Paris Exposition | |
| Yara Sellin | DJ: Performer, Cyborg, Dominatrix | |
| Grace Tam | The Penitential Theology of Henry Purcell as Expressed In His Sacred Songs | |
| 2004 | Maria Cizmic | Performing Pain: Music and Trauma in 1970s and 80s Eastern Europe |
| Charles Hiroshi Garrett | Struggling to Define a Nation: American Music in the Twentieth Century | |
| James Kennaway | Musical Pathology in the Nineteenth Century: Richard Wagner and Degeneration | |
| Louis Niebur | Special Sound: Electronic Music in Britian and the Creation of the BBC's Radiophonic Workshop | |
| Cecilia Sun | Experiments in Musical Performance: Historiography, Politics, and the Post-Cagian Avant-Garde |
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| 2003 | Durrell Bowman | Permanent Change: Rush, Musicians’ Rock, and the Progressive Post-Counterculture |
| Dale Chapman | Specters of Jazz: Style, Ideology, and Jazz as Postmodern Practice | |
| Mark Martin | Jean Sibelius and the Construction of Finnish National Identity | |
| Glenn T. Pillsbury | Pure Black, Looking Clear: Genre, Race, Commerce, and the Music of Metallica | |
| Nadya Zimmerman | Sixties Synergy: Musical Strands of the San Francisco Counterculture | |
2002 |
Bettie Jo Basinger | Liszt's Symphonic Poems and the "New Manifestation of the Human Spirit" |
| Francesca Draughon | Mahler and the Music of Fin-de-siècle Identity | |
| Jacqueline Warwick | "I Got All My Sisters With Me": Girl Culture, Girl Identity, Girl Group Music | |
2001 |
Steven Baur | "Let Me Make the Ballads of a Nation and I Care Not Who Makes Its Laws": Music, Culture, and Social Politics in the United States, c. 1860–1890 |
| Daniel Goldmark | Happy Harmonies: Music and the Hollywood Animated Cartoon | |
| Michelle Hill | The Accompanied Keyboard Sonata: Contributions to the Genre by Women Composers in England ca. 1776-1810 | |
| Marischka Hopcroft | Franz Liszt as Libidinal Economy of Enjoyment | |
| Maiko Kawabata | Violin Heroism in the Nineteenth Century | |
2000 |
Christopher Page | Leonard Bernstein and the Resurrection of Gustav Mahler |
| Joni Steshko | Igor Stravinsky's 1919 Firebird Suite: Critical Edition, Sources, and Commentary | |
| Marissa Soloman-St. Laurant | The Operas of Paul Wranitzky: Their Position in the Development of German Opera in Vienna, 1789–1808 | |
1999 |
Nasser Al-Taee | The Sultan's Seraglio: Fact, Fiction, and Fantasy in 18th Century Viennese "Turkish" Music |
| Joanne Althouse | Jose Elias and Late Baroque Organ Music in Spain | |
1998 |
David Ake | Being Jazz: Images and Identities |
| Alison Deadman | "Augletti che cantate": Handel, his Woodwind players, and his London | |
| Steven Gordon | Mahler's Seventh Symphony, Modernism and the Crisis of Austrian Liberalism | |
| Bonnie Gritton | The Pedagogy of Friedrich Wieck | |
| Robert Hutchins | Polyphonic Mass Music by Some Early 15th Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis, and Hugo de Lantins | |
| Eunah Kong | Music at the Interface of Cultural Identity: Opera of Korea, 1948 to the Present | |
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1997
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Guozhong Sun | Zhu Jian-er's Symphonies: Context, Style, and Significance |
| Sandra Yang | The Composer and Dance Collaboration in the 20th Century: Darius Milhaud's Ballets, 1918-1958 | |
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1996
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Jeongmee Kim | The Heterophony of Korean-German Musical Culture: A Cultural and Political Examination of Tsang Yum's Music |
| Margot Martin | Essential Agréments: Arts, Dance, and Civility in Seventeenth-Century French Harpsichord Music | |
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1995
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Kay Lipton | The Opere Buffe of Pietro Alessandro Gugliemi in Vienna and Esterhaza: Contributions to the Developement of Opera Buffa between 1768-1793 |
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1994
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Christina Magaldi | Concert Life in Rio de Janeiro, 1837-1900 |
| Blair Sullivan | Grammar and Harmony: The Written Representation of Musical Sound in Carolingian Treatises | |
| Willie Strong | Philosophies of African-American Music History | |
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| 1992 | Craig Custer | The Russian Choral-Orchestra Cantata from the Beginning of the Nineteenth Century to the Revolution |
| Ronald Shaheen | Neoclassical Influences in the Two Versions of Giovanni Simone Mayr's Lodoiska | |
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| 1991 | Haiping Hu | Das Lied Von Der Erde: The Culmination of Mahler's Artistic Life |