Steve Laitz, Chair
Theory Department
Eastman School of Music
26 Gibbs Street
Rochester, New York 14604
585-274-1550
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Dissertations in Progress and Completed
Current Dissertations
Student | title | Advisor |
| Chang, Phil | -- | Matthew Brown |
| Flowers, Andrew | Music Representation | Dave Headlam |
| Francis, Kelly | Attention and Multi-Part Music | David Temperley |
| Koslovsky, John | Felix Salzer and the Transmission of Schenkerian Thought in the United States | Matthew Brown - Robert Wason |
| Mailman, Josh | -- | Robert Morris |
| Miller, Paul | -- | Ciro Scotto |
| Sommerville, David | Ginastera String Quartets | Dave Headlam |
| Stephan-Robinson, Ann | Form in Paul Simon's Music | John Covach |
| Titus, Jason | Modal Improvisation and Composition in the Music of Miles Davis, 1958-1968 | Matthew Brown - Robert Wason |
| Wadsworth, Ben | Dialectical Opposition in Fin-de-siecle Music: A Model of Balance applied to Melodic Motives, Harmonic Context, and their Interaction | Dave Headlam |
Dissertation Titles of Music Theory PhDs 1983-2006
Graduate | date | title | Advisor |
| Adrian, John | 1987 | Development Sections That Begin with the Tonic | David Beach |
| Alegant, Brian | 1993 | The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical Implications | Robert Morris |
| Au, Aiu-Wah | 2003 | Diminution, Schenkerian Theory, and Variation Form: Three Case Studies | Matthew Brown |
| Auerbach, Brent | 2005 | The Analytical Grundgestalt: A New Model and Methodology Based on the Music of Johannes Brahms | Steve Laitz |
| Bartlette, Christopher | 2007 | -- | David Temperley |
| Bribitzer-Stull, Matthew | 2001 | Thematic Development and Dramatic Association in Wagner's Der Ring Des Nibelungen | Matthew Brown |
| Buchler, Michael | 1998 | Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity | Robert Morris |
| Cadwallader, Allen | 1983 | Multi-leveled Motivic Repetition in Selected Intermezzi for Piano of Johannes Brahms | David Beach |
| Capuzzo, Guy | 1999 | Variety Within Unity: Expressive Ends and Their Technical Means in the Music of Elliott Carter, 1983-1994 | Robert Morris |
| Carey, Norman | 1998 | Distribution Modulo 1 and Musical Scales | Robert Morris |
| Chuck, Gavin | 2004 | Toward a Cognitive Theory of Musical Meaning | Robert Wason |
| Clevenger, John | 2002 | The Origins of Debussy's Style | Aleck Brinkman |
| Cohn, Richard | 1987 | Transpositional Combination in 20th-Century Music | Robert Morris |
| Crotty, John | 1986 | Design and Harmonic Organization in Beethoven's String Quartet, Op. 131 | David Beach |
| Crumbley, Stefanie | 2002 | Tonal Voice Leading as an Analytic Basis for Liszt’s Late Experimental Music | Matthew Brown |
| Folio, Cynthia | 1985 | An Analysis and Comparison of Four Compositions by Joseph Schwantner: and the Mountains Rising Nowhere; Wild Angels of the Open Hills; Aftertones of Infinity; and Sparrows | Robert Morris |
| Hanninen, Dora | 1996 | A General Theory for Context-Sensitive Music Analysis: Applications to Four Works for Piano by Contemporary American Composers | Robert Morris |
| Heath, Mary Jo | 1988 | A Comparative Analysis of Dukas's Arian Et Barbe-Bleu and Bartók's Duke Bluebeard's Castle | Marie Rolf |
| Hermann, Richard | 1994 | A General Measurement for Similarity Relations a Heuristic for Constructing or Evaluating Aspects of Possible Musical Grammars | Robert Morris |
| Jenkins, Danny | 2007 | Issues of Form in Schoenberg's Atonal Period Vocal Music: Three Case Studies | Dave Headlam |
| Jones, Evan | 2002 | Pervasive Fluency: A Contrapuntal Definition of Stability and Transience in Tonal Music | Norman Carey |
| Jurkowski, Edward | 1998 | A Theory of Harmonic Structure and Voice-Leading for Atonal Music | Dave Headlam |
| Kaminsky, Peter | 1990 | Aspects of Harmony, Rhythm and Form in Schumann's Papillons, Carnaval and Davidsbündlertänze | David Beach |
| Kraus, Joseph | 1987 | Contexts for Chromatic Third Relations in the Late String Quartets and Quintets of Wolfgang Amadeus Mozart | David Beach |
| Krumholz, Jay | 1995 | Friedrich Wilhelm Marpurg's Abhandlung von der Fuge | David Beach |
| Laitz, Steve | 1992 | Pitch-Class Motive in the Songs of Franz Schubert: The Submediant Complex | Robert Wason |
| Lambert, Jay Philip | 1987 | Compositional Procedures in Experimental Works of Charles E. Ives | Robert Gauldin |
| Leong, Daphne | 2001 | A Theory of Time-Spaces for the Analysis of Twentieth-Century Music: Applications to the Music of Bela Bartók | Robert Morris |
| Lewis, Christopher | 1983 | Tonality and Structure in the Ninth Symphony of Gustav Mahler | David Beach |
| Mak, Susanna Yin | 2004 | Structure, Design, and Rhetoric: Variation Procedures in Selected Instrumental and Vocal Works by Franz Schubert | Gretchen Wheelock - David Beach |
| Marvin, Eliz West | 1989 | Cognitive Structures and Strategies for the Understanding of Non-Tonal Music: Their Analytical and Pedagogical Implications | Robert Morris |
| Marvin, William | 2002 | Tonality in Selected Set-pieces from Richard Wagner's Die Meistersinger Von Nurnberg: A Schenkerian Approach. | Matthew Brown |
| Mavromatis, Panayotis | 2005 | The Echoi of modern Greek church chant in written and oral transmission : a computational model and its cognitive implications | Matthew Brown |
| McGowan, James | 2005 | Dynamic Consonance in Tonal Jazz | Robert Wason |
| Murphy, Scott | 2004 | Relations Among Boundaries, Expectations, and Closure in Tonal and Post-Tonal Music | Daniel Harrison |
| Neal, Jocelyn | 2002 | Song Structure Determinants: Poetic Narrative, Phrase Structure, and Hypermeter in the Music of Jimmie Rodgers | Dave Headlam |
| Nelson, Richard | 1984 | Theories of Harmonic Modulation in Selected German Treatises of the 18th-Century | David Beach |
| Ng, Yuet-Hon Sam | 2005 | A Grundgestalt Interpretation of Metric Dissonance in the Music of Johannes Brahms | Dave Headlam |
| Painter, Noel | 2000 | Exploring Contour Associations Through Transformation Networks: Identification and Classification of Contour Relations in Modern Multiple Percussion Music | Elizabeth Marvin |
| Palmer, David | 1998 | Polar Processes in Stravinsky's Neoclassical Music | Daniel Harrison |
| Patty, Austin | 2006 | A Theory of Pacing Scenarios with Application to the Violin Sonatas of Brahms | Dave Headlam |
| Peters, Penelope | 1990 | French Harmonic Theory in the Conservatoire Tradition: Fétis, Reber, Durand, and Gevaert | Robert Wason |
| Poulin, Pamela | 1983 | Three Stylistic Traits in Poulenc's Chamber Works for Wind Instruments | Robert Gauldin |
| Quinn, Ian | 2004 | A Unified Theory of Chord Quality in Equal Temperaments | Robert Morris |
| Randall, Richard | 2006 | A General Theory of Comparative Music Analysis | Robert Morris |
| Reed-Knouse, Nola | 1983 | The Theories of Joseph Riepel as Expressed in His Ansangsgrunde zur Musicalischen Setzkunst(1752-1768 | David Beach |
| Ricci, Adam | 2004 | The Nineteenth-Century Sequence as Transformation of Eighteenth-Century Model | Daniel Harrison |
| Richards, James | 1986 | Pitch Structure in the Opera Don Rodrigo of Alberto Ginastera | David Beach |
| Rifkin, Deborah | 2000 | Tonal Coherence in Prokofiev's Music: A Study of Interrelationships of Structure, Motives and Design | Daniel Harrison |
| Rogers, Nancy | 2000 | The Role of Verbal Encoding in Memory for Musical Timbre and Pitch Patterns | Elizabeth Marvin |
| Rohr, Deborah | 1997 | Brahm's Metrical Dramas: Rhythm, Text Expression, and Form in the Solo Leider | Robert Wason |
| Sallmen, John Mark | 1998 | A Flexible Approach to Ordering and Grouping in Atonal Music in General: Text-Music Relations in Elliott Carter's In Sleep, In Thunder in Particular | Robert Morris |
| Silberman, Peter | 2006 | Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal Music | Daniel Harrison - Norm Carey |
| Sly, Gordon | 1995 | An Emerging Symbiosis of Structure and Design in the Sonata Practice of Franz Schubert | David Beach |
| Scott Charles Spiegelberg. | 2002. | The psychoacoustics of musical articulation | Dave Headlam - Betsy Marvin |
| Taavola, Kristin | 2002 | Cyclic shape theory: an approach to modeling modal processes in pieces from Balinese gamelan and Bartok | Dave Headlam |
| Terefenko, Dariusz | 2004 | Keith Jarrett's Transformation of Standard Tunes | Robert Wason - Matthew Brown |
| Traut, Donald | 2002 | Displacement and Its Role in Schenkerian Theory. | Matthew Brown |
| Trucks, Louise | 1992 | The Metric Complex in Johannes Brahms's Klavierstücke, Op. 76 | David Beach |
| Uno, Yayoi | 1994 | Avant-garde Music circa 1950-60: Analysis of Works by Boulez, Cage, Babbitt, and Xenakis | Robert Morris |
| Waters, Keith | 1997 | Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger | Robert Wason |
| Wise, Herbert | 1987 | The Relationship of Pitch-Sets to Formal Structure in the Last Six Piano Sonatas of Scriabin | David Beach |
Last updated: July 2007
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