ACKNOWLEDGEMENTS
This thesis would not have been possible without the assistance of several
individuals and institutions. To Vijay lyer and Rudresh Mahanthappa, thank you
for allowing me to interview and interact with you.
To Professor Poovalur Sriji, thank you for teaching me the basics of
Carnatic music and for your insights on the music I analyzed. I would like to
thank Dr. John Murphy for your sensible and methodical suggestions. To Dr.
Eileen Hayes, I would like to thank you for your kind encouragement, helpful
structural modifications, stimulating ideas, and for introducing me to additional
significant literature. Dr. Steven Friedson, you challenge me constantly, and you
have played an indispensable role in my development.
I would like to thank my fellow graduate students, especially those in
GaMuT (the Graduate Association of Musicologist und Theorists), for creating a
network of intelligent and encouraging students.
The University of North Texas, especially the Division of Music History,
Theory, and Ethnomusicology in the College of Music has been a fantastically
supportive environment, demanding the best of me while fostering my creativity.
Additionally, the Toulouse Graduate School has provided me with many valuable
resources as a graduate student.
Lastly, I must thank Mom, Dad, and Akshay for your continued support.

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