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2.
Effect of Observational Cadence on Orbit Determination for Synthetic Near-Earth Objects
by Endicott, Thomas G., M.S.  University of Massachusetts Boston. 2017: 78 pages; 10617372.
3.
The effect of cadence on ground reaction forces during the push-up exercise
by Jason, Juliana, M.S.  California State University, Long Beach. 2011: 85 pages; 1493031.
4.
Physiological response to cycling at different pedal rates during high intensity interval training
by Lund, Bryan C., M.S.  California State University, Long Beach. 2017: 88 pages; 10252833.
5.
Phrase Structure, Hypermeter, and Closure in Popular Music
by Robins, Jeremy M., Ph.D.  The Florida State University. 2017: 202 pages; 10262010.
6.
Motif and Closure in Twentieth-Century Music: Bartók, Britten and Fauré
by Eng, Sher Ling Clare, Ph.D.  Yale University. 2012: 261 pages; 3525192.
7.
A pipeline analog-to-digital converter for a plasma impedance probe
by El Hamoui, Mohamad A., M.S.  Utah State University. 2009: 67 pages; 1463640.
8.
An analysis of the bicycle-rider interface forces in stationary road cycling
by Carahalios, Adam, M.A.  University of Colorado at Boulder. 2015: 45 pages; 1600509.
9.
Musical Form in Hymns of the Church of Jesus Christ of Latter-Day Saints
by Bigler, Nathan Robert, M.M.  Northern Arizona University. 2018: 161 pages; 10817691.
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Franz Schreker: Analytical approach to his choral compositions
by Kim, Jong In, D.M.A.  University of Southern California. 2011: 128 pages; 3477932.
12.
The role of segmentation and expectation in the perception of closure
by Peebles, Crystal, Ph.D.  The Florida State University. 2011: 234 pages; 3502879.
13.
Formal organization in ground-bass compositions
by Stevens, Bryan, M.A.  University of North Texas. 2015: 96 pages; 10034750.
14.
Perspectives on phrase rhythm in J. S. Bach's keyboard fugues
by Reef, John S., Ph.D.  Indiana University. 2014: 266 pages; 3623241.
15.
Neuromechanical Factors That Limit Walking Speed in Individuals with Post-Stroke Hemiparesis
by Capo-Lugo, Carmen Enid, Ph.D.  Northwestern University. 2014: 139 pages; 3626475.
16.
Brahms the autumnal and the romantic aesthetic of dissolution
by Cubero Hernandez, Diego, Ph.D.  Indiana University. 2014: 254 pages; 3668787.
17.
An analysis and overview of selected original compositions
by Soto, Miguel, M.M.  The University of Texas at El Paso. 2009: 61 pages; 1461176.
18.
Formularity and Formal Structure in the Old Beneventan Chant
by Bereza, Sarah, M.M.  University of Cincinnati. 2011: 105 pages; 1500436.
19.
Subdominant Recapitulations in the Sonata Forms of George Whitefield Chadwick
by Barnes, Robert D., M.M.  University of Louisiana at Lafayette. 2015: 70 pages; 1592837.
20.
Pedals, Functions, and Form-Functional Overlap in the Instrumental Music of the Viennese Classical Style
by Johnston, Sean F., Ph.D.  The University of Texas at Austin. 2012: 190 pages; 3572870.
21.
Harmony, form, and voice leading in the mature works of Antonín Dvořák
by Partridge, Daniel J., Ph.D.  City University of New York. 2012: 420 pages; 3543726.
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Treatment of polyphony in the music of Giovanni Pierluigi da Palestrina and Orlandus Lassus
by Doctor, Daniel Bruce, M.M.  California State University, Long Beach. 2015: 64 pages; 1606214.
26.
A man of two worlds: Classical and jazz influences in Nikolai Kapustin's Twenty -Four Preludes, Op. 53
by Creighton, Randall J., D.M.A.  The University of Arizona. 2009: 281 pages; 3387449.
27.
An analysis of sonata for woodwind quintet
by Richmond, Daniel, M.M.  Western Illinois University. 2016: 45 pages; 10153462.
29.
Aspects of The Ploger Method™ Applied to the Mozart Clarinet Concerto
by McCann, Amy E., D.M.A.  West Virginia University. 2013: 149 pages; 3605850.
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