| Name | Year | Dissertation |
| Hilary Donaldson | 2021 | Modernism and the Sacred in the Music of Benjamin Britten |
| Amanda Hsieh | 2020 | Male Hysteria, Degenerate Opera: Post-Wagnerian Music Drama in the Era of World War I |
| Lindsay Jones | 2020 | Music by the Ducat: Giuliani’s Guitar and Vienna’s Musical Markets, 1806–1819 |
| Jessica Lovett | 2020 | The Sound Culture of Space Science |
| Stefan Udell | 2019 | Hearing with the Ears of the Heart: Reading Musica in 13th and 14th cent. Manuscripts Containing Poetry, Music and Art |
| Katelyn Clark | 2019 | The Early Pianoforte School in London’s Musical World, 1785–1800: Technology, Market, Gender, and Style |
| Erin Scheffer | 2019 | John Weinzweig and the Canadian Mediascape, 1941–1948 |
| Patrick Nickleson | 2017 | The Names of Minimalism: Authorship and the Historiography of Dispute in New York Minimalism, 1960–1982 |
| Ed Wright | 2017 | Making Hammers with Art: The Producer of House and Techno |
| Virginia Acuña | 2016 | The Spanish lamento: discourses of love, power and gender in the musical theatre (1696–1718) |
| Roseen Giles | 2016 | The (un)Natural Baroque: Giambattista Marino and Monteverdi’s Late Madrigals |
| Jeremy Strachan | 2015 | Music, Communications, Place: Udo Kasemets and Experimentalism in 1960s Toronto |
| Eva Branda | 2013 | Representations of Antonín Dvořák: A Study of his Music through the Lens of Late-Nineteenth-Century Czech Criticism |
| Helen Patterson | 2013 | The Antiphonary of Bangor and its Musical Implications
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| Alexa Woloshyn | 2012 | “The Recorded Voice and the Mediated Body in Contemporary Canadian Electroacoustic Music” |
| Michelle Boyd | 2011 | “Music and the Making of a Civilized Society: Musical Life in Pre-Confederation Nova Scotia, 1815–1867” |
| Colleen Renihan | 2011 | “Sounding the Past: Canadian Opera as Historical Narrative” |
| Anna Rutledge | 2011 | “Zelter, Goethe and the Emergence of a German Choral Canon” |
