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Колокола Собора for Solo Guitar
by Diggins, Henry A., M.M.  The University of Alabama. 2019: 17 pages; 13811339.
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Inclusion strategies for the high school guitar class
by Pinta, Kristen Janet, M.A.  California State University, Long Beach. 2013: 117 pages; 1523263.
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Marshall Griffith's “Duel for Solo Guitar”: Performance edition and analysis
by Nitz, Ryan, D.M.A.  Arizona State University. 2009: 98 pages; 3392129.
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Ida Presti as a Solo Performer and Composer of Works for Solo Guitar
by Mowbray, Candice, D.M.A.  Shenandoah University. 2012: 113 pages; 3537481.
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A survey of the solo guitar works written for Julian Bream
by McCallie, Michael, D.M.  The Florida State University. 2015: 178 pages; 10000626.
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Humor and ethnography in Herodotus' “Histories”
by Mash, Mark Christopher, Ph.D.  The University of North Carolina at Chapel Hill. 2010: 224 pages; 3404700.
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Homeric Diction in Posidippus
by Williams, Maura Kathleen, Ph.D.  City University of New York. 2013: 258 pages; 3601900.
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Inflamed by the Furies: The Role of Emotion in the Imperial Destiny of the Aeneid
by Kelley, Matthew W., M.A.  Tufts University. 2014: 168 pages; 1558552.
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Gluttony and philosophical moderation in Plato's “Republic”
by Hintze, Hannah, Ph.D.  The University of Chicago. 2009: 336 pages; 3387057.
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Horror in Euripides' “Hecuba” and “Heracles”
by Keyser, Derek Smith, Ph.D.  The University of North Carolina at Chapel Hill. 2011: 262 pages; 3477565.
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The female body in Latin love poetry
by Damer, Erika Zimmermann, Ph.D.  The University of North Carolina at Chapel Hill. 2010: 220 pages; 3409955.
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No longer nepios: The maturation of Telemachos in Homer's "Odyssey"
by Smith, William, M.A.  Tufts University. 2010: 84 pages; 1476124.
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A violinist in a non-classical world: Sugizo's use of violin in popular music
by Olsen, Corinne M., M.M.  California State University, Long Beach. 2009: 36 pages; 1472351.
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The influence of classical and non-classical friction on sliding
by Wilkins, James Kevin, Ph.D.  North Carolina State University. 2009: 232 pages; 3377634.
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The music of Michael Hedges and the re-invention of acoustic fingerstyle guitar
by Raitt, Donovan E., M.M.  California State University, Long Beach. 2010: 49 pages; 1490409.
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Translating Herbie Hancock’s 1960s-Era Harmonic Language to the Guitar
by Heath, Matthew David, M.M.  California State University, Long Beach. 2019: 59 pages; 13857953.
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The influence of popular music in the contemporary classical aesthetic
by Lord, Cristina Danielle, M.M.  California State University, Long Beach. 2016: 41 pages; 10118887.
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Agustín Barrios and musical identity: Tangos in early twentieth-century guitar repertory
by Wahl, Robert J., M.A.  California State University, Long Beach. 2012: 77 pages; 1517559.
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“Abstracting” Iranian classical music
by Minooei, Faraz, M.F.A.  University of California, Irvine. 2010: 42 pages; 1476522.
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Instruments as technology and culture: Co-constructing the pedal steel guitar
by Miller, Timothy David, Ph.D.  The University of North Carolina at Chapel Hill. 2013: 242 pages; 3562931.
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Real-Time Software Electric Guitar Audio Transcription
by Fiss, Xander, M.S.  Rochester Institute of Technology. 2011: 55 pages; 1493588.
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Twelve-tone techniques in a work for guitar by Milton Babbitt
by Bemman, Brian M., M.A.  University of South Carolina. 2012: 55 pages; 1509772.
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