| 2022 | | |
| 2021 | Keslie Pharis | The English Anthem from the Reformation to the Restoration: The balancing of Catholic and Puritanical influences in English church music |
| 2020 | Amane Machida | A computational music analysis of Handel’s two divas and their musical taste |
| 2020 | Alex Tedrow | The Brevity of Breves: A Functional Transition in the Notation of Medieval Polyphonic Music |
| 2019 | Noah Sonderling | Evil Twin: The Piano Transcription of the Große Fuge |
| 2019 | Ethan Balakrishnan | Tracing the Contenance Angloise: The Roles of Ecclesiastical Impotence, Irish Folk Music, and the University in the Development of the English Harmonic Style |
| 2018 | Joseph Wiegand | Colonization and Consolidation in New Spain |
| 2018 | William Bradley Berg | The Father of the Piano Trio |
| 2017 | Brian Curl | Byzantium and Rome: Musical Borrowing |
| 2017 | Vanessa Gehring | Haydn’s Forgotten Operas: The Influence of Residential Opera on Haydn’s Operatic Works |
| 2016 | Natalie Hart | A Comparison of the Social Implications of the Musette and the Bagpipe |
| 2016 | Grant Luhmann | The Decline of Baroque Trumpet Performance in the Eighteenth Century |
| 2015 | Michael Gebhart | Style and Eloquence in Early Tudor Melody: Towards a Rhetorical Interpretation of Motivic Repetition and Variation in the Melismatic Style of Robert Fayrfax |
| 2014 | Jessica MacLean | Spanish Missionary Music: A Method for New World Christianization |
| 2014 | Katie Minion | To Be European: Toward an Understanding of National Style in 17th-and 18th-Century French and German Organs |
| 2013 | Evita Jovic | St. Mark’s and Cori Spezzati: Polychoral Style Development in Renaissance Venice |
| 2013 | Charles D Helge | Beatrice Harrison and Jacqueline du Pré: Misrepresentation and Mythology and the Elgar Cello Concerto |
| 2012 | Grace Saunders | The Appeal of the Unexpected in Die Zauberflöte |
| 2012 | Zhizhong (Danny) Xie | Cori Spezzati in the Sixteenth and Seventeenth Centuries |
| 2011 | Kaitlyn Paradise | Kepler’s Music of the Spheres and His Astronomy |
| 2011 | Rose Fraser | A Developmental Dialogue: Common Roots and Interplay in Medieval Jewish and Arabic Music |
| 2010 | Linsey Rogers | Crossing the Line: A Stylistic Study of the Film Music and Concert Music of Miklós Rózsa |
| 2010 | Abraham Smith | Guillaume de Machaut and the Inception of the Musician-Celebrity |
| 2009 | Carol Ann Cheung | Sexuality in Lady Macbeth |
| 2009 | Clara Nieman | Rameau as Theorist and Composer |
| 2008 | Miyo Aoki | The Origins of the Ars Subtilior Style |
| 2008 | Rebecca Gabriel | Dær was hearpan sweg… or was there?. Music, Speech, and Beowolf |
| 2007 | Alyssa Yorgan | A Critical Look at Hermeneutical Analyses of Schubert’s Works |
| 2007 | Stanley Fink | An Insightful Study of Influences on Ottaviano Petrucci |
| 2006 | Ross Crane | On the Evolution of Style: The Trouvere Tradition and Guillaume de Machaut |
| 2005 | Dena Borman | Voice of Steve Reich in the Third Movement of Different Trains |
| 2005 | Ben Syversen | Aristoxenus’ Spatial Conception of Music |
| 2004 | Liam Byrne | Marin Marais’s Influence on French Accompanimental Style |
| 2004 | Drew Massey | The Piano as Proving Ground in the Music of John Cage, 1940-1951 |
| 2003 | Leanne Dodge | Spectacle, Humanism, and Patronage: Claudio Monteverdi’s Orfeo and Arianna as Political Tools of Vincenzo Gonzaga |
| 2003 | Maria del Carmen Espinosa | The Influence of the Argentinian Context in Alberto Ginastera’s ‘Objective Nationalism’ (1937-1947) through the Analysis of Danzas Argentinas |
| 2002 | Justin Hoffman | Ockeghem’s Missa Cuiusvis Toni, Tinctoris, and Choirboys: A Fifteenth-Century Catholicon Mass in Theory and Practice |
| 2002 | Jeffrey Litman | The Marriage of Music and Poetry in Leonard Bernstein’s: The Age of Anxiety Symphony Number Two For Piano and Orchestra after W.H. Auden |
| 2001 | Julia Dolken | An Ancient Partnership Renewed: The Historical Relationship Between Music and Medicine |
| 2001 | William Quillen | The Aesthetics of Otherness: Eighteenth-Century European Exoticism as Expressed in Mozart’s Turquerie |
| 2000 | Jennifer E. Borhart | Olivier Messiaen: Musical Philosopher |
| 2000 | Matthew Van Brink | Salomone’s Sacred Style Reading Rossi Rhetorically |
| 1999 | Brian P. Harlow | William Byrd: Master of Text and Music |
| 1999 | Teddie Hwang | Parallels in the Artistic Style of Arnold Schoenberg and Wassily Kandinsky |
| 1998 | Rebecca Powell | The Music of the Spheres and its Effects in Renaissance Musical Thought |
| 1998 | Cory Smythe | The Girl with the Flaxen Toupee: Simulated Sex and the Decadent Aesthetic in the Music of Claude Debussy |
