Dissertations and Theses Presently Underway Treating the “Long” Eighteenth Century

Initially compiled by Karen Hiles, June 2008

This list relies on member submissions to stay as complete and up-to-date as possible.
To make changes or to add your dissertation to the list, please email Ashley Greathouse at greathaa@mail.uc.edu

James Arnold, “‘Putting thoughts into song’: Andre-Ernest-Modeste Gretry and the French Revolution on the operatic stage” (Birkbeck College, London 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)

Ashley A. Greathouse, “Facilitating Social Emulation: Music in London’s Pleasure Gardens, 1660–1859” (University of Cincinnati)

Katsuaki Ichikawa, “Die Harmoniemusik am Hof von Oettingen-Wallerstein” (Martin-Luther-Universität Halle-Wittenberg)

Erin Jerome, “Disguise, Deception, and the Development of Haydn’s Dramatic Voice in the Comic Operas of 1766-1777” (Brandeis University)

Kevin Ngo, “Improvisation: Bridging the gap between Composition and Performance in W. A. Mozart’s Piano Music” (University of Calgary)

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)

Amber Youell-Fingleton, “Italian Opera in Maria Theresia’s Vienna” (Columbia University)

Recently Completed Dissertations and Theses

Rebekah Ahrendt, “Politics, Pleasure, and the Propagation of French Opera outside of France, 1680–1715” (University of California Berkeley, 2011)

Rachel Bani, “‘Those Female Furies’: Jacobite Scotswomen, Song, and Wartime Experience” (Florida State University, 2018)

Adem Birson, “Haydn’s Dramatic Dissonances: Chromaticism and Formal Process in his String Quartets, Opp. 9 and 17” (Cornell University, 2015)

Ruta Bloomfield, “Bernard de Bury’s Premier livre de pieces de clavecin: Critical Edition and Commentary” (Claremont Graduate University, 2008)

Suzanne Bratt, “Obligato / Obligé: A Musical Etymology” (University of Pennsylvania, 2017)

Bethany Cencer, “London Partsong Clubs and Masculinities, 1750–1830” (Stony Brook University, 2017)

Evan Cortens, “The Sacred Cantatas of Christoph Graupner: Music at the Intersection of Opera and Theology” (Cornell University, 2014)

Julia Doe, “French Opera at the Italian Theater (1762–93): Opéra-Comique and the Development of National Style in France” (Yale University, 2013)

Sarah Eyerly, “‘Singing from the Heart’: Memorization and Improvisation in an Eighteenth-Century Utopian Community” (University of California Davis, 2007)

Ellen Exner, “The Forging of a Golden Era: King Frederick the Great and Music for Berlin, 1732–1756” (Harvard University, 2010)

Rebecca Dowd Geoffroy-Schwinden, “Politics, the French Revolution, and Performance: Parisian Musicians as an Emergent Professional Class, 1749–1802” (Duke University, 2015)

Dianne Goldman, “The Matins Responsory at Mexico City Cathedral, 1575–1815” (Northwestern, 2014)

Glenda Goodman, “American Identities in an Atlantic Musical World: Transhistorical Case Studies” (Harvard University, 2012)

Karen Hiles, “Haydn’s Heroic Decades: Music, Politics, and War, 1791–1809” (Columbia University, 2009)

Moira Leanne Hill, “Carl Philipp Emanuel Bach’s Passion Settings: Context, Content, and Impact” (Yale University, 2015)

Keith Johnston, “È caso da intermedio! Comic Practice, Comic Style and the Early Intermezzo” (University of Toronto, 2011)

Estelle Joubert, “Opera, Politics and the Public Sphere in Enlightenment Germany” (University of Oxford, 2007)

Martin Küster, “Theoretical Approaches to Musical Prosody in the Eighteenth Century” (Cornell University, 2011)

Mathieu Langlois, “Visuality and pictorialism in French Baroque music” (Cornell University, 2015)

Erica Pauline Levenson, “Traveling Tunes: French Comic Opera and Theater in London, 1714–1745” (Cornell University, 2017)

Deirdre Loughridge, “Technologies of the invisible: Optical instruments and musical Romanticism” (University of Pennsylvania, 2011)

Adeline Mueller, “Zauberkinder: Children and Childhood in Late Eighteenth-Century Singspiel and Lieder” (University of California Berkeley, 2011)

Mark Nabholz, “The Rescuer in Danger: A Scholarly Performance Edition of Franz Xaver Süssmayr’s Secular Cantata, Der Retter in Gefahr” (University of South Carolina, 2011)

Matthias Röder, “Music, Politics, and the Public Sphere in Late Eighteenth-Century Berlin” (Harvard University, 2009)

Andrew Salyer, “‘Grave, solemn, & fitted to devotion’: Anglican Church Music 1688–1727” (MMus, Rice University, 2017)

Nicholas E. Taylor, “The Published Church Cantatas of Georg Philipp Telemann” (Indiana University, 2014)

Beverly Wilcox, “The Music Libraries of the Concert Spirituel: Canons, Repertoires, and Bricolage in Eighteenth-Century Paris” (University of California Davis, 2014)

Back to home page