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Degree Department
Division of Music History, Theory, and Ethnomusicology
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Division of Music History, Theory, and Ethnomusicology
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Degree Department
Division of Music History, Theory, and Ethnomusicology
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2020-2029
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Dido the Chaste: A Characterization of Dido in Spanish Baroque Pasticcio Opera
Chicago Renaissance Women: Black Feminism in the Careers and Songs of Florence Price and Margaret Bonds
Theory and Practice in Book 2 of Ugolino's (c. 1380-1457) "Declaratio musicae disciplinae"
Georg Joseph Vogler (1749-1814) and His Jesuit-Influenced "System" of Harmony
Sounds Themselves: Intersections of Serialism and Musique Concrète in Karlheinz Stockhausen's "Elektronische Studie I"
Clementi the Scientist: Contemporary Reception of His Symphonies
Borrowing Culture: British Music Circulating Libraries and Domestic Musical Practice, 1853-1910
Sounding the Ancestors: Sangpuy Katatepan Mavaliyw and the Ancestral Spirit Imaginary
Elements of Formal Continuity in Robert Schumann's "Novelletten," op. 21 and Other Piano Works
A Quantitative Approach to the History of Music Binder's Volumes (1820–1900)
Performing Translations: Rethinking Christian Wolff's Alternative Notation (1960-1968) in the Context of His Creative Communities
The Early Songs (1880–1885) of Claude Debussy: An Analytical Approach to Defining a Repertoire
Psalms, Hymns, and Commercial Songs: Tradition and Innovation in James Lyon's "Urania"
Fanfare and Pastoral Topics in Mozart's Così fan tutte
A 'Bohemian' Premiere? Smetana's "The Bartered Bride" and National Identity in 1909 New York
Bridging the Fantastical Gap: Dread and the Uncanny in the Score of "It Follows"
The Phenomenology of Harmonic Progression
The Emergence of the Subconscious in Erik Satie's "Parade": The Search for Surrealism in Sound
"Despedida con Mariachi": The Musical Mediation of Masculine Grief in Mexican Immigrant Funerals
Mariachismo: Music, Machismo, and Mexicanidad
Change, Longing, and Frustration in Djent-Style Progressive Metal
On the Precipice: Examining Generic Convention and Innovation in Thermidorian Opera through "Sapho" (1794)
Developing Ogolevets's Doubly Augmented Prime: Semitonal Voice Leading in the Music of Shostakovich
Nontraditional Six-Four Chords and Their Impact on Middleground Structures in Schumann, Brahms, and Saint-Säens
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