Dissertations advised by William Rothstein

At City University of New York (Ph.D. in music theory unless otherwise specified) 

• Alexandra Joan, DMA in piano, 2024: “Reconciling Macro- and Micro-Levels in the First Movement of Brahms’s Concerto in D Minor, Op. 15: A Schenkerian Reading.”

• Gregory Hartmann, DMA in piano, 2024: “The Interaction of Performance and Analysis.”

• Charles Weaver, 2023: “The Solesmes Theory of Plainchant Rhythm: Its Sources, Methods, and Influence.”

• Yuval Shapira, DMA in piano, 2022: “Voice Leading in Fugue.”

• Ruka Shironishi, 2021: “Plainchant Accompaniment and Modal Harmony in Nineteenth-Century France.”

• Alexander Martin, 2018: “Sunken II Chords and Innigkeit: A Correspondence Complex in Robert Schumann’s Liederjahr Songs.”

• Jason Hooper, 2017: “Heinrich Schenker’s Approach to Form, 1895–1935.”

• Ryan Kosseff-Jones, 2017: “Mahlerian Tonality: Challenges to Classical Foreground Structures in the Music of Gustav Mahler.”

• Ji Yeon Lee, 2017: “Climax Structure in Late Romantic Opera.”

• Pedro Segarra-Sisamone, 2017: “Scholasticism and Formal Structure in Camille Saint-Saëns’s Fugues for Keyboard.”

• Loretta Terrigno, 2017: “Brahms and Musical Meaning: Harmony, Narrative, and Agency in His Solo Lieder.”

• Andrew Wilson, 2017: “A Theory of Complex Metrical Consonance: Extensions to the Concepts of Musical Meter and Metrical Consonance.”

• Richard Porterfield, 2016: “Melodic Process and Modal Function in Gregorian Chant.”

• Ellen Bakulina, 2015: “The Problem of Tonal Disunity in Sergei Rachmaninoff’s All-Night Vigil, op. 37.”

• Edward Klorman, 2013: “Multiple Agency: Analyzing Mozart’s Chamber Music as Discourse.”

• Daniel Partridge, 2012: “Harmony, Form, and Voice Leading in the Instrumental Music of Antonín Dvořák.”

• Andrew Pau, 2012: “An Analytical Study of Bizet’s Carmen: Melody, Text Setting, Harmony, Form.”

• Sigrun Heinzelmann, 2008: “Sonata Form in Ravel’s Pre-War Chamber Music.”

• Karen Mandelbaum, 2008: “The Late Keyboard Rondos of Carl Philipp Emanuel Bach: Issues, of Genre, Form, and Voice Leading.”

• Kyle Adams, 2006: “A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century.”

• Jan Miyake, 2004: “The Role of Multiple New-Key Themes in Selected Sonata-Form Expositions.”

• Myungsook Wang, DMA in piano, 2004: “Isaac Albeniz’s Iberia and the Influence of Franz Liszt.”

• Martin Kutnowski, PhD in composition, 2003: “Harmony, Voice Leading, and Phrase Structure in Three Early Piano Preludes by Scriabin: A Schenkerian Perspective.”

At University of Michigan

• Eric McKee, 1994: “The Interaction of Tonal Structure and Phrase Structure as an Aspect of Form in Tonal Music.”

• Mauro Botelho, 1993: “Rhythm, Meter, and Phrase: Temporal Structures in Johann Sebastian Bach’s Concertos.”

• Geoffrey Horn, 1989: “Dual Urlinien in the Concerto Practice of Wolfgang Amadeus Mozart, as Demonstrated in the Three Concerti in E-flat for Horn and Orchestra.”

Co-advised dissertation

• Claudia Patanè, Università degli Studi di Roma Tor Vergata (Italy), in progress: “Analisi musicale e atto performativo: una prospettiva per la direzione d’orchestra.” With Giorgio Sanguinetti.

• Thomas Jul Kirkegaard-Larsen, Aarhus University (Denmark), 2016: “Analytical Paradigms in Western Musicology.” With Thomas Holme Hansen.