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62.
One mind: Past, present and future George Rochberg's Sonata for Viola and Piano (1979)
by McDonald, Margaret Mary, D.M.A.  University of California, Santa Barbara. 2010: 53 pages; 3422648.
63.
Samuel Barber's Piano Sonata Op. 26: A performance guide
by Iliadis, Ioannis, M.M.  California State University, Long Beach. 2016: 29 pages; 10111174.
64.
Tabula Rasa: An Interactive Electroacoustic Work for Flute, Piano, Cello and Live Computer
by Bukvic, Ivica Ico, D.M.A.  University of Cincinnati. 2005: 82 pages; 10857140.
65.
Hybridity and Identity in the Pan-American Jazz Piano Tradition
by Scott, William D., Ph.D.  University of Pittsburgh. 2019: 245 pages; 13857362.
67.
Federico Mompou and the piano: A performer's guide
by Ruiz de Gauna, Moises, D.M.A.  University of Cincinnati. 2009: 123 pages; 3371011.
68.
69.
A concerto for piano and orchestra
by Gorby, Roderick, D.M.  The Florida State University. 2015: 111 pages; 3705818.
70.
Online Note Onset Detection for Piano Pieces
by Macias, Michael, M.S.  The University of Mississippi. 2014: 55 pages; 10185402.
72.
Thought, Virtuosity and Spontaneity in Luciano Berio's 'Six Encores' for Piano
by Fomalgaut, Asiia, M.F.A.  Mills College. 2017: 38 pages; 10282010.
73.
Sonata for Violin and Piano
by Kim, Seong Ae, Ph.D.  State University of New York at Stony Brook. 2013: 47 pages; 3589708.
75.
Óscar da Silva (1870–1958) Life and Solo Piano Works
by Campinho, Miguel Audaciano, D.M.A.  University of Hartford. 2015: 196 pages; 3701473.
76.
Collaborative crossover: Identifying classical vocal collaborative piano practices in jazz vocal accompanying
by Morgenroth, David Jonathan, D.M.A.  University of North Texas. 2015: 174 pages; 10034354.
77.
The six piano suites of Nathaniel Dett
by Erickson, Clipper, D.M.A.  Temple University. 2014: 205 pages; 3623149.
79.
Aaron Copland's Use of Flute in His Late Style: The Case of Duo for Flute and Piano and Threnodies I and II
by Lopez, Matthew Santos, M.M.  California State University, Long Beach. 2019: 37 pages; 13426828.
80.
Approaches to Sonata Form in Mid-Twentieth-Century American Piano Sonatas
by Masterson, Sarah E., D.M.A.  University of Connecticut. 2011: 159 pages; 3504798.
82.
Re-envisioning the Piano Recital: An Audiovisual Alternative
by Muriago, Agustin, D.M.A.  University of Hartford. 2017: 77 pages; 10277387.
83.
The influences contributing to the "samba jazz feel" of Cesar Camargo Mariano's piano trio style
by Mateus, Abelita, M.M.  The William Paterson University of New Jersey. 2014: 116 pages; 1567589.
84.
Jean-Michel Damase's "Sonate pour Clarinette et Harpe": A conglomeration of complexity
by Miller, Michael Eugene, M.M.  California State University, Long Beach. 2016: 54 pages; 10133998.
85.
A stylistic analysis of and performance suggestions for Robert Muczynski's Second Piano Sonata, Opus 22
by Lim, Rebecca Hee-Jung, M.M.  California State University, Long Beach. 2017: 31 pages; 10263622.
86.
Song sets by Beethoven, Berg, and Lutoslawski: Transcriptions for trombone and piano within a lecture recital
by Vance, David Nathaniel, D.M.A.  The University of North Carolina at Greensboro. 2015: 86 pages; 3708191.
87.
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90.
Pablo de Sarasate: The influence of his unique style and virtuoso violin technique
by Eilers, Connie Patricia, M.M.  California State University, Long Beach. 2012: 29 pages; 1517621.
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