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MA Supervision/Supervision de la M.A.

Supervisor for the Master of Arts (MA) in Music Theory/

Directrice pour la maîtrise ès art (M.A.) en théorie musicale

  • Gwen Watson, Anxieties Associated with Disabilities in Music Education and Performance: Recognition to Potential Solutions for Accommodation, October 2013.  (http://hdl.handle.net/10393/26288)
  • Jessica Wan, Violet Archer’s “The Twenty-Third Psalm” (1952): An Analytical Study of Text and Music Relations Through Fibonacci Numbers, Melodic Contour, Motives, and Piano Accompaniment, September 2012.       (http://www.ruor.uottawa.ca/en/handle/10393/23346)
  • Bogdan Focsaneanu, Leo Brouwer’s Layering Technique: Formal Articulation Through Intervallic, Voice-Leading, and Rhythmic Structures in “Elogio de la Danza,” September 2012.                                                                                                                      (http://www.ruor.uottawa.ca/en/handle/10393/23249)
  • Lori Lynn Penny, The Kodály Method and Tonal Harmony: An Issue of Pedagogical Compatibility, July 2012.                                                                                              (http://www.ruor.uottawa.ca/en/handle/10393/23132)
  • Louis Tétreault, La construction des phrases en contexte post-tonal : une analyse du Trio no2 de Clermont Pépin, juillet 2012.  (http://www.ruor.uottawa.ca/en/handle/10393/23131)
  • Sinae Kim, Isang Yun and the Hauptton Technique: An Analytical Study of the Second Movement from Duo für Violoncello und Harfe (1984), April 2012. (http://www.ruor.uottawa.ca/en/handle/10393/22797)
  • Maximiliano Holten-Andersen, Reinventing the Tango: A Comparative Analysis of Matos Rodríguez’s La Cumparsita and Piazzolla’s Otoño Porteño, March 2012. (http://www.ruor.uottawa.ca/en/handle/10393/22897)
  • Milada Medinić, Préservation des éléments mélo-théoriques anciens dans la tradition musicale contemporaine de la sevdalinka - chanson traditionnelle bosniaque, mars 2010.
  • Marie-Christine Des Rosiers, The Alliance Between Voice and Instrument in Beethoven’s Ninth Symphony: The Recitative as a Unifying Element of Gang and Narrator, April 2010.
  • Justine Gratton, Exploring New Sound Sources in Canadian Music: A Study of Electroacoustic Works for Flute and Electronics by Frenette, Roy, and Boudreau, April 2010.

Primary Supervisor for the Master of Arts (MA) in Music Theory/

Directrice principale pour la maîtrise ès art (M.A.) en théorie musicale

  • Jane Berry (co-supervision with Dillon Parmer), Reinterpreting Schumann: A Study of Large-Scale Structural and Atmospheric Associations in Schumann’s Frauenliebe und -leben and Dichterliebe Song Cycles, July 2011. (http://www.ruor.uottawa.ca/en/handle/10393/20102)
  • Jamie Loback (co-supervison with Murray Dineen), Contour Prolongation in Steven Gellman’s Concerto for Viola and Orchestra (2004): Tracing the Narrative of the Ego and the Alter-Ego, October 2009.

Supervisor for the Master of Arts (MA) in Music Theory (in progress)/

Directrice pour la maîtrise ès arts (M.A.) en théorie musicale (en cours)

  • Erik Fernandez Ibarz, Peter Schat’s Tone Clock: A Tool for Post-Tonal Composition.
  • Adam Roy, Music in Motion: A Metaphoric Mapping of Forces Through the Piano Concertos of Mozart and Schumann.