Roger Sessions: Dissertations and Theses


Aldag, Richard J. Roger Sessions's Duo for Violin and Violoncello: 
an Edition and an Examination of the Compositional Process. Diss., 
City University of New York, 1991. 

Campbell, Allen Douglas. Roger Sessions's Adoption of the Twelve-tone 
Method. Diss., City University of New York, 1990.

Campbell, Michael Ian. The Piano Sonatas of Roger Sessions: Sequel to 

a Tradition. Diss., Peabody Institute, 1982.
Danchenka, G.R. Quantitative Measurement of Information Content via 
Recurring Associations in Three Movements of Symphony No.2 by Roger 
Sessions. Diss., University of Miami, 1981. 

Duffin, Diana Ruth. The Interpretation of Accent Signs in Roger 
Sessions' Third Piano Sonata. Diss., Ohio State U., 1979. 

Fuentes, David Raoul. Dramatic Strategy in Sessions' Concerto for 
Orchestra. PhD diss., Musicology: Brandeis University, 1988.

Gorelick, B.L. Movement and Shape in the Choral Music of Roger 
Sessions. Diss., University of Illinois, Urbana, 1985.

Henderson, Ronald D. Tonality in the Pre-Serial Instrumental Music 
of Roger Sessions. Diss., Eastman School, 1974.

Hoberman, Jerome. Idea and style in two late works of Roger Sessions. 
DMA doc., Johns Hopkins University, Peabody Institute, 1999. 

Kress, Steven M. Roger Sessions, Composer and Teacher: A Comparative 
Analysis of Roger Sessions's Philosophy of Educating Composers and 
his Approach to Composition in Symphonies No.2 and 8. Diss., 
University of Florida, 1982.

Mason, Charles Norman. A Comprehensive Analysis of Roger Sessions' 
Opera Montezuma. Diss., University of Illinois, Urbana, 1982. 

McDonnell, Donald R. Roger Sessions's Symphony No.3, first movement: 
Form, Hexachordal Polarity, and Harmonic Language. Diss., Brandeis 
University, 1994. 

Meckna, Robert Michael. The Rise of the American Composer-Critic: 
Aaron Copland, Roger Sessions, Virgil Thomson, and Elliott Carter in 
the Periodical 'Modern Music', 1924-1946. Diss., University of 
California, Santa Barbara, 1984.

Merryman, Marjorie Jane Aspects of Phrasing and Pitch Usage in Roger 
Sessions's Piano Sonata No.3. Diss., Brandeis University, 1981. 

Pfaff, William Peter. An Analysis of Cadence Formulation in the 
"Introduction" of Roger Sessions's Cantata When Lilacs Last in the 
Dooryard Bloom'd Diss., Brandeis University, 1994. 

Scotto, Anne M. Exploring the Macrocosm in the Microcosm: an 
Examination of Two Piano Works by Roger Sessions. Diss., University 
of Washington, 1995. 

Wheeler, William Scott. Harmonic Motion in the Music of Roger 
Sessions: an Examination of the Quintet, First Movement. Diss., 
Brandeis University, 1984. 

Woo, Betty King-lam. The Challenge of Roger Sessions' First Piano 
Sonata: Understanding How its Evolution, its Language, and its 
Notation Can Suggest a Performing Style. DMA doc., Stanford University, 
1995.

Woods, Benjamin. The North American Piano Sonata in Transition from 
Tonal to Atonal Styles. DMA doc., University of South Carolina, 1991.

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