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Recent Dissertations


2017
J. Ryan Bodiford, “Sharing Sounds: Musical Innovation, Collaboration, and Ideological Expression in the Chilean Netlabel Movement”

2016
Megan Hill, “Asakusa Ondo: Soundscape, Agency, Montage, and Place in a Dynamic Tokyo Neighborhood”

2015
Elizabeth Batiuk, “Kinetic Conversations: Creative Dance-Music Performance and the Neotiation of Identity in Contemporary Havana, Cuba”

2014
M. Antonette Adiova, “Music, Dance, and Negotiations of Identity in the Religious Festivals of Bicol, Philippines”

2013
Bretton Dimick, “Vietnam’s Ca tru: Courtesans’ Songs by Any Other Name”

2011
Alexander Cannon, “Making Tradition Charismatic: Music, Memory and Alliance in Contemporary Southern Vietnam”

Yona Stamatis, “Rebetiko Nation: Hearing Pavlos Vassiliou’s Alternative Greekness in Rebetiko Song”

2010
John Behling, “Music Practices as Social Relations: Chicago Music Communities and the Everyday Significance of Playing Jazz”

Vera Flaig, ” The Politics of Representation and Transmission in the Globalization of Guinea’s Djembe”

Alyson Jones, ” Playing Out: Women Instrumentalists and Women’s Ensembles in Contemporary Tunisia”

2009
Hui-Hsuan Chao, “Musical Taiwan under Japanese Colonial Rule: A Historical and Ethnomusicological Interpretation”

2008
Joys Cheung, “Chinese Music and Translated Modernity in Shanghai, 1918-1937”

Jesse Johnston, “The Cimbalom (Cimbál) in Moravia: Cultural Organology and Interpretive Communities”

2007
Joshua Duchan, “Powerful Voices: Performance and Interaction in Contemporary Collegiate A Cappella”

Michal Rahfaldt, ” Music-Based Radio and Youth Education in South Africa”

2006
Julia Byl, “Antiphonal Histories: Performing Toba Batak Past and Present”

Stephanie Ng, “Filipino Bands Performing in Hotels, Clubs and Restaurants in Asia: Purveyors of Transnational Culture in a Global Arena”

2005
Kristina Benitez, “The Maguindanaon Kulintang: Musical Innovation, Transformation and the Concept of Binalig”

Katherine Brucher, “A Banda da Terra: Bandas Filarmónicas and the Performance of Place in Portugal”

Christopher Joshua Tucker, “Sounding Out a New Peru: Music, Media, and the Emergent Andean Public”

2004
Tamar Barzel, “”Radical Jewish culture”: Composer/improvisers on New York City’s 1990s Downtown Scene”

Lisa Jenkins, “Celtic connections: ‘Celticism’ in Scottish Music”

2016
Sarah Suhadolnik, “Navigating Jazz: Music, Place, and New Orleans”

Leah Weinberg “Opera behind the Myth: An Archival Examination of Einstein on the Beach”

2015
Jessica Getman, “Music, Race, and Gender in the Original Series of Star Trek (1966-69)”

2014
Sarah Gerk, “Far Away O’er the Ocean Go Journeymen, Cowboys, and Fiddlers: The Irish in Nineteenth-Century American Music”

2013
Daniel Blim, “Patchwork Nation: Collage, Music, and American Identity”

Alison DeSimone, “The Myth of the Diva: Female Opera Singers and Collaborative Performance in Early Eighteenth-Century London”

Nicholas Field, “Outlandish Authors: Innocenzo Fede and Musical Patronage at the Stuart Court in London and in Exile”

2012

Rebecca Fulop, “Heroes, Dames, and Damsels in Distress: Constructing Gender Types in Classical Hollywood Film Music”

Michael Mauskapf, “Enduring Crisis, Ensuring Survival: Artistry, Economics, and the American Symphony Orchestra”

2011
Scott Southard, “Focalization and Masculine Subjectivity in the Early Operas of Benjamin Britten”

Shinobu Yoshida, “Modeling Heroines in Giacomo Puccini’s Operas”

2010
Timothy Freeze, “Gustav Mahler’s Third Symphony: Program, Reception, and Evocations of the Popular”

Nathan Platte, “Musical Collaboration in the Films of David O. Selznick, 1932–1957”

2009
Laura Kennedy, “Symphonies nos. 8 and 10 by Dmitri Shostakovich: A Study of Sketches and Drafts”

2008
Rebecca Schwartz-Bishir, “‘Musique Dansante’ and the Art of Ballet”

2007
Christopher Scheer, “Fin-de-siecle Britain: Imperialism and Wagner in the Music of Gustav Holst”

2003
Eric Saylor, “The Significance of Nation in the Music of Ralph Vaughan Williams”

2000
Amanda Eubanks, “Gender and Genre: Musical Conventions on the English Stage, 1660-1705”

1999
Mark Katz, “The phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900-1940”