| 2025 | Jacob Eichhorn | Twelve-Tone as Topic: Satire, Politics, and Postwar American Concert Music |
| 2024 | Ruixue Hu | Theorizing Phrase Structure in Guqin Music |
| 2023 | Ryan Galik | Don’t Pop the Bubble: Intersections of ambient music, attention, expectation, and flow in Tim Hecker’s Virgins |
| 2022 | Sylvie Tran | Constructing an Idealized American West Through Folk Sources |
| 2021 | Alexandrea Jonker | Keeping the Ear in Ear Training : Incorporating Blind Hearing for Improved Aural Skills Pedagogy |
| 2020 | Matthew Kiple | Collection Space: Systematizing Parsimonious Transformations in French Scalar Tonality |
| 2019 | Nathan Pell | Tempo as Form: Orchestral Recordings from 1910–1940 in Light of Earlier Sources |
| 2019 | Jeremy Tatar | Metric Transformations in Hip-Hop and R&B Sampling Practice |
| 2018 | Nathan Lam | Relative Diatonic Modality in English Pastoral Music: A Dorian Case Study |
| 2017 | John Lawrence | Hearing Voices in Their Hands: Performing and Perceiving Polyphony |
| 2016 | Nathaniel Mitchell | The Volta: A Galant Gesture of Culmination |
| 2016 | Joshua Mills | Timbre, Harmony, Orchestration, and Analysis, and Rautavaara’s Symphony No. 8, “The Journey” |
| 2015 | Aaron Grant | “Promissory Note” Narrative Strategies in Schubert’s Three-Key Expositions |
| 2015 | Olga Sanchez-Kisielewska | Menuets Vicieux, Z Figures, and Sonic Analogues: Embodied Meanings of Hypermeter in Haydn and Mozart’s Symphonic Minuets |
| 2014 | Aaron Grant | Exploring Polyscalarity in the Music of Igor Stravinsky: Discerning Surface- and Deeper-Level Scalar Collections |
| 2014 | Janet Bourne | Playing With Schemata |
| 2013 | Michael McClimon | Jazz Harmony, Transformations, and ii-V Space |
| 2012 | Drew Nobile | Reconsidering the Notion of “Cadence” Based on Evidence from Pop-Rock Music |
| 2011 | | |
| 2010 | Michael Callahan | Improvisational Memory, Formula, and the Pedagogy of Extemporized Binary-Form Dance Movements |
| 2009 | Jeff Yunek | Illuminating Micropolyphony: Biblical Allusions Communicated through Manipulations of Pitch Space and Text in Sandström’s Agnus Dei |
| 2008 | Phil Duker | Resulting Patterns, Palimpsests, and “Pointing Out” the Role of the Listener in Reich’s Drumming |
| 2007 | Melissa Hoag | Multiply-Directed Moments in Brahms’s Schönwar, das ich dir weihte… (Op. 95, no. 7) |
| 2006 | Matthew Boyer | Topical Pairing as Compositional Strategy in Mozart |
| 2005 | Michael Baker | Transformational vs. Prolongation in Brahms’s In der Fremde |
| 2004 | Danny Beard | From Landfill Management and Wastewater Treatment to Mozart: Using Multiple Linear Regression to Model Musical Contour |
| 2003 | Michael Berry | A Modular Space Approach to Voice Leading in Atonal Music |
