Submissions from 2023
Breaking the Glass Ceiling: How Women are Succeeding while Being Undervalued in the Professional Orchestral World, Kristin Demos
Submissions from 2021
BACH’S FIFTH CELLO SUITE, DOUBLE BASS AND SCORDATURA: PRACTICAL AND HISTORICAL SOLUTIONS, Thomas Willhoit
Submissions from 2014
Composing For A Singer: The Vocal Qualities of Adriana Ferrarese del Bene Exemplified Through Four Mozart Arias, Emily Davis
Synthesis and Melody: Mozart’s Sinfonia Concertante in Eb for Violin and Viola, Jennifer Franklund
Submissions from 2013
Music and Movement: Katherine Dunham's Influence on American Dance, Kristine Graybar
Submissions from 2012
Liszt’s O lieb’ so lang du lieben kannst: The Song That Inspired Liebesträume and the Composer’s Programmatic Literature, Danielle Aldach
BUT WHAT IS IT SAYING? TRANSLATING THE MUSICAL LANGUAGE OF STRAVINSKY’S THREE PIECES FOR CLARINET SOLO, Derek Emch
Takarazuka for the Family: Japanese All-Women’s Musical Theater and Traditional Gender Perceptions, Kay Satoh
Submissions from 2011
CHAMBER STUDY TO PULITZER PRIZE: A COMPARISON OF GEORGE CRUMB’S ELEVEN ECHOES OF AUTUMN, 1965 (ECHOES I) AND ECHOES OF TIME AND RIVER (ECHOES II), Jonathan Micheal Goodman
The Clarinet Concerti that Inspired the Composition of the Six Clarinet Concerti of Johann Melchior Molter, Jonathan Micheal Goodman
Submissions from 2009
Schumann, Wolf, and Mörike’s "Das Verlassene Mägdlein:" A Stylistic Comparison, Emily Cline
Bringing Broadway Home: Organizing a Broadway Pit Orchestra in an Amateur Setting, Laurie Lewis