Recent Dissertations

James McNally, “São Paulo Underground: Creativity, Collaboration, and Cultural Production in a Multi-Stylistic Experimental Music Scene”

Ho Chak Law, “Cinematizing Chinese Opera, Performing Chinese Identities, 1945-1971”

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

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

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

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

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

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”

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”

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

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

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

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

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

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”

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”

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

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

Kristen Clough, “Opera in Crisis? Revealing the Cultural and Political Impact of French Fourth Republic Opera, 1945-1958”

Jessica Grimmer, “Political Battlefields in French Musical Education: Provincial Conservatories under the Nazi Occupation and Vichy Regime”

Patricia Prokert, “Interpreting Race and Difference in the Operas of Richard Strauss”

Anne Heminger, “Confession Carried Aloft: Music, Religious Identity, and Sacred Space in London, c. 1540-1560”

Austin Stewart, “The Opera is Booming. This is a City.: Opera in the Urban Frontier of Denver, 1864-1893”

Kathryn Cox, “‘What Happened to the Post-War Dream?’: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s”

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

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

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

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

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”


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”

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

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

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”

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

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

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

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

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

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