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1.
Sensory and Emotion Perception of Music
by Bodnar, Andor L., M.S.  University of Louisiana at Lafayette. 2017: 110 pages; 10268431.
2.
Harmonic Syntax in Delius's Late Period Chamber Music (1905-1930)
by Yie, Hyoun-Kyoung, Ph.D.  The Ohio State University. 2008: 164 pages; 10631400.
3.
Seven original compositions for jazz combo
by Siukola, Jennifer, D.A.  Ball State University. 2015: 80 pages; 3745688.
4.
Kulitta: A Framework for Automated Music Composition
by Quick, Donya, Ph.D.  Yale University. 2014: 247 pages; 3582255.
5.
Some Statistical Properties of Tonality, 1650-1900
by White, Christopher Wm., Ph.D.  Yale University. 2013: 332 pages; 3578472.
6.
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.
7.
Nonfunctional Parsimony and Tonal Ambiguity in the Late Lieder of Franz Liszt
by Seguin, Abigail L., M.M.  University of Louisiana at Lafayette. 2014: 126 pages; 1557576.
8.
Brahms the autumnal and the romantic aesthetic of dissolution
by Cubero Hernandez, Diego, Ph.D.  Indiana University. 2014: 254 pages; 3668787.
9.
Scriabin's transpositional wills: A diachronic approach to Alexander Scriabin's late piano miniatures (1910 – 1915)
by Yunek, Jeffrey, Ph.D.  Louisiana State University and Agricultural & Mechanical College. 2013: 230 pages; 3576178.
11.
The triumph of joy over tragedy: Pitch a in Mahler's Fifth Symphony
by Bernal, Sergio, Ph.D.  The University of Utah. 2013: 135 pages; 3557335.
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Generalized diatonic modality and Ralph Vaughan Williams' compositional practice
by Bates, Ian Frederick Edward, Ph.D.  Yale University. 2008: 193 pages; 3342727.
15.
Cooperative learning methods for group piano: The development of a teaching guide
by Meulink, Judie N., D.A.  Ball State University. 2011: 171 pages; 3490132.
17.
Motif and Closure in Twentieth-Century Music: Bartók, Britten and Fauré
by Eng, Sher Ling Clare, Ph.D.  Yale University. 2012: 261 pages; 3525192.
18.
Bird's words and Lennie's lessons: Using or avoiding patterns in bebop
by Stehr, Max W., D.M.A.  The University of Nebraska - Lincoln. 2016: 158 pages; 10247656.
19.
Thanatos
by Viator, Landon, M.M.  University of Louisiana at Lafayette. 2017: 69 pages; 10277362.
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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Analyzing musical interaction in jazz improvisations of the 1960s
by Michaelsen, Garrett, Ph.D.  Indiana University. 2013: 283 pages; 3599217.
24.
An analysis of Ernst von Dohnanyi's Passacaglia for solo flute
by Gray, Nancy Jane, M.M.  California State University, Long Beach. 2012: 43 pages; 1520864.
25.
Schubert's 1826–1827 strophic songs: Innovations in musical coherence within a folk setting
by Kuljurgis, Carsten, M.A.  California State University, Long Beach. 2010: 90 pages; 1490393.
26.
The Jazz taxonomy
by Mantz, Brian Donald, M.M.A.  California State University, Long Beach. 2011: 44 pages; 1499270.
27.
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.
28.
Old world influence on new world music: Candelario Huízar's Imágenes
by Feltman, Joshua, Ph.D.  City University of New York. 2013: 198 pages; 3601703.
29.
An analysis and overview of selected original compositions
by Soto, Miguel, M.M.  The University of Texas at El Paso. 2009: 61 pages; 1461176.
30.
Form in Paul Simon's music
by Stephan-Robinson, Anna, Ph.D.  University of Rochester, Eastman School of Music. 2009: 356 pages; 3376719.
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