Comps, honors papers, and prize-winning works of the Music Department are featured here. All works have been self-submitted by the student authors. Descriptive information about each work is available to search or browse. Access to the full text of the works is limited to current Carleton affiliates with faculty permission. Learn more about how to submit your work and how to request access to the full text of works.
Submissions from 2024
Aleksander Prasolov, Music (MUSC) 2024, Composing the End and What Comes After: Death and the Musical Afterlife in Tod und Verklärung and “Im Abendrot”
Nathan Przybyla, Music (MUSC) 2024, Verspätung
Submissions from 2022
Cecelia Ringrose, Music (MUSC) 2022, The Blank Slate
Hisui Takeda, Music (MUSC) 2022, Sonata for Two Pianos in D Major, K. 448 and Informed Performance Practice
Submissions from 2021
Rebecca McCartney, Music (MUSC) 2021, Better For It: Voicing Loss, For One
Submissions from 2019
Jack Hardwick, Music (MUSC) 2019, Afslørende For Violin & Interactive Electronics
Charles K. Lutvak, Music (MUSC) 2019, (III+I) movements for (3+1) keyboard [excerpts]
Submissions from 2018
Jared Oak Johnson, Music (MUSC) 2019, Composition and Production
Submissions from 2017
Caroline Glazer, Music (MUSC) 2017, Pretty Peggy and the "Bonnie Lass": 250 Years of Folk and Commercial Transmission of a British-American Folk Song
Joshua Bowman Ruebeck, Music (MUSC) 2017, True Story
Submissions from 2016
Wing Hei Agnes Tse, Music (MUSC) 2016, The Crystallization of the Song Cycle: from An die ferne Geliebte to Frauenliebe und Leben
Submissions from 2013
Matthew James Cusworth Rathkey, Music (MUSC) 2013, An Examination of the Musical Character of Anat Cohen
Ethan Andrew Sagin, Music (MUSC) 2013, Expression and the Affections in Johann Sebastian Bach's ICH HABE GENUG, BWV 82
Submissions from 2012
Casey Jordan Andree, Music (MUSC) 2012, The Trombone Pedagogy of Vladimir Blazhevich
Mihajlo Babovic, Music (MUSC) 2012, From the Practice Room to the Concert Stage: How the Broken Chord Étude Developed in the Early 19th Century
Hannah Jean Button-Harrison, Music (MUSC) 2012, Freeing the Music [paper], The Sound of Singing [composition/performance]
Justin Mark Carlson, Music (MUSC) 2012, A Discussion of Form in the Third Movement: Allegro Moderato from the Concerto for Viola and Orchestra (1929) by Sir William Turner Walton
Philip D. Fonseca, Music (MUSC) 2012, Trading Gangstas for Geezers: Synthesizing Narrative and Altered American Rap Style To Forge a Post-Millennial British Identity
Amanda Marie Grover, Music (MUSC) 2012, Faces New and Old: The Evolution of Five Instruments from the Huqin Family over the Twentieth Century
Aleksandr Phillip Sharma, Music (MUSC) 2012, Musique Noir:An Analysis of Musical Expressive Genres
MacEagon Benjamin Voyce, Music (MUSC) 2012, Postminimalism, Moment Form
Robert Petschek Wakeley, Music (MUSC) 2012, An Analysis of Robert Muczynski's Sonata, op. 14, for Flute and Piano
Submissions from 2011
Emily Cogsdill, Music (MUSC) 2011, Discussions, Developments, and Reflections on Musical Analytical Techniques for the Study of Rap Music
Glenn Padell Greenberg, Music (MUSC) 2011, The Use of Sonata Form in the Chamber Piano Concerto
Daniel Lorand Hoppe, Music (MUSC) 2011, Benjamin Britten's Fuga and Ciaccona From Second Suite for Unaccompanied Cello Op.80 Two examples of a twentieth century composer's use of Baroque compositional forms
David Edward Kornfeld, Music (MUSC) 2011, Gilgamesh from a Third Stream Perspective
Britta Kathryn Swedenborg, Music (MUSC) 2011, The Nielsen Flute Concerto: A Danish Concerto?
Submissions from 2010
Jon Bradly Jacobs, Music (MUSC) 2010, Heitor Villa-Lobos and the Tarrega School
Submissions from 2009
Sara L. Rothwell, Music (MUSC) 2009, The compositional techniques of Luigi Dallapiccola's twelve-tone music
