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 2019

Jack Hardwick, Afslørende For Violin & Interactive Electronics, 2019, Music (MUSC)

Charles K. Lutvak, (III+I) movements for (3+1) keyboard [excerpts], 2019, Music (MUSC)

Submissions from 2018

Jared Oak Johnson, Composition and Production, 2019, Music (MUSC)

Submissions from 2017

Caroline Glazer, Pretty Peggy and the "Bonnie Lass": 250 Years of Folk and Commercial Transmission of a British-American Folk Song, 2017, Music (MUSC)

Joshua Bowman Ruebeck, True Story, 2017, Music (MUSC)

Submissions from 2016

Wing Hei Agnes Tse, The Crystallization of the Song Cycle: from An die ferne Geliebte to Frauenliebe und Leben, 2016, Music (MUSC)

Submissions from 2013

Matthew James Cusworth Rathkey, An Examination of the Musical Character of Anat Cohen, 2013, Music (MUSC)

Ethan Andrew Sagin, Expression and the Affections in Johann Sebastian Bach's ICH HABE GENUG, BWV 82, 2013, Music (MUSC)

Submissions from 2012

Casey Jordan Andree, The Trombone Pedagogy of Vladimir Blazhevich, 2012, Music (MUSC)

Mihajlo Babovic, From the Practice Room to the Concert Stage: How the Broken Chord Étude Developed in the Early 19th Century, 2012, Music (MUSC)

Hannah Jean Button-Harrison, Freeing the Music [paper], The Sound of Singing [composition/performance], 2012, Music (MUSC)

Justin Mark Carlson, A Discussion of Form in the Third Movement: Allegro Moderato from the Concerto for Viola and Orchestra (1929) by Sir William Turner Walton, 2012, Music (MUSC)

Philip D. Fonseca, Trading Gangstas for Geezers: Synthesizing Narrative and Altered American Rap Style To Forge a Post-Millennial British Identity, 2012, Music (MUSC)

Amanda Marie Grover, Faces New and Old: The Evolution of Five Instruments from the Huqin Family over the Twentieth Century, 2012, Music (MUSC)

Aleksandr Phillip Sharma, Musique Noir:An Analysis of Musical Expressive Genres, 2012, Music (MUSC)

MacEagon Benjamin Voyce, Postminimalism, Moment Form, 2012, Music (MUSC)

Robert Petschek Wakeley, An Analysis of Robert Muczynski's Sonata, op. 14, for Flute and Piano, 2012, Music (MUSC)

Submissions from 2011

Emily Cogsdill, Discussions, Developments, and Reflections on Musical Analytical Techniques for the Study of Rap Music, 2011, Music (MUSC)

Glenn Padell Greenberg, The Use of Sonata Form in the Chamber Piano Concerto, 2011, Music (MUSC)

Daniel Lorand Hoppe, 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, 2011, Music (MUSC)

David Edward Kornfeld, Gilgamesh from a Third Stream Perspective, 2011, Music (MUSC)

Britta Kathryn Swedenborg, The Nielsen Flute Concerto: A Danish Concerto?, 2011, Music (MUSC)

Submissions from 2010

Jon Bradly Jacobs, Heitor Villa-Lobos and the Tarrega School, 2010, Music (MUSC)

Submissions from 2009

Sara L. Rothwell, The compositional techniques of Luigi Dallapiccola's twelve-tone music, 2009, Music (MUSC)