Initially compiled by Karen Hiles, June 2008
To make changes or to add your dissertation to the list, please email Amber Youell-Fingleton at aly2101@columbia.edu
Rebekah Ahrendt, “Politics, Pleasure, and the Propagation of French Opera outside of France, 1680–1715” (University of California Berkeley)
James Arnold, “‘Putting thoughts into song’: Andre-Ernest-Modeste Gretry and the French Revolution on the operatic stage” (Birkbeck College, London University)
Ruta Bloomfield, “Bernard de Bury's Premier livre de pieces de clavecin: Critical Edition and Commentary” (Claremont Graduate University)
Roland Biener, “Die geistliche Werke Antonio Rosettis (um 1750 bis 1792)” (Technische Universität Dresden)
Peter Broadwell, “Swashbucklers on Stage: Musical Depictions of Pirates and Bandits in English Musical Theater, 1650–1820” (University of California Los Angeles)
Gergely Fazekas, “The Context and Reception of J. S. Bach’s Notion of Musical Form” (Liszt Academy Budapest)
Karen Hiles, “Haydn’s Heroic Decades: Music, Politics, and War, 1795–1809” (Columbia University)
Katsuaki Ichikawa, “Die Harmoniemusik am Hof von Oettingen-Wallerstein” (Martin-Luther-Universität Halle-Wittenberg)
Martin Küster, “Theoretical Approaches to Musical Prosody in the Eighteenth Century” (Cornell University)
Adeline Mueller, “Pamina’s Journey: Youth and the Young in Late Eighteenth-Century German Opera” (University of California Berkeley)
Marius Schwemmer, “Familie, Leben und Werk von Joseph Willibald Michl—ein Komponist von vielem Kopfe” (Universität Würzburg)
Monica Steger, “Frohlocke, Darmstadt, sei erfreut: Contextualizing the Aesthetics of Christoph Graupner’s Secular Cantatas” (University of Wisconsin-Madison)
Beverly Wilcox, “The Paris Concert Spirituel, Composers, and Audiences: Music in the Public Sphere” (University of California Davis)
Amber Youell-Fingleton, “Italian Opera in Maria Theresia’s Vienna” (Columbia University)