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151.
Choreography and Extended Techniques in George Crumb's Five Pieces for Piano
by Lee, Alexander B., M.M.  California State University, Long Beach. 2019: 34 pages; 13859499.
152.
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.
153.
A study of students' perceptions of the effectiveness of an interdisciplinary method for teaching injury-preventive piano technique
by Lister-Sink, Barbara Ann, Ed.D.C.T.  Teachers College, Columbia University. 2015: 439 pages; 3707098.
154.
Hybridity and Identity in the Pan-American Jazz Piano Tradition
by Scott, William D., Ph.D.  University of Pittsburgh. 2019: 245 pages; 13857362.
155.
Form in Frank Bridge's three phantasies
by Hsu, Hui-pin, D.M.A.  City University of New York. 2013: 247 pages; 3561222.
156.
The Intersection of Programmatic Gestures and Technical Difficulty in Thomas Adès's Lieux Retrouvés
by Moss, Sydney L., M.M.  California State University, Long Beach. 2018: 25 pages; 10785068.
157.
An overview of the oboe works of Simon A. Sargon
by Chandler, A. Dione, D.M.  The Florida State University. 2012: 172 pages; 3551117.
158.
Interpreting Lovregio's fantasia on "La Traviata": Performance and score analysis
by Johnson, Rebecca S., M.M.  California State University, Long Beach. 2012: 47 pages; 1517648.
160.
161.
The performing practice of preluding: Johann Nepomuk Hummel's twenty-four Preludes for piano, Op. 67
by Liu, Pei-Lin, M.M.  California State University, Long Beach. 2010: 40 pages; 1486654.
162.
Steve Moshier's “Shadows from the Underworld”: A piano work that reflects a post-minimalist sensibility
by Law, Cynthia F., M.M.  California State University, Long Beach. 2010: 40 pages; 1493032.
163.
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.
164.
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.
165.
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.
167.
168.
Viola Transcriptions: History, Rationale, and Process, with Focus on Selected Works by August Halm
by Galvin, Rachel White, D.M.A.  University of California, Santa Barbara. 2013: 216 pages; 3611984.
170.
A Guide to Kevin Poelking's By the Hands That Reach Us
by Poelking, Kevin, M.M.  Colorado State University. 2019: 94 pages; 13815250.
171.
The influence of jazz clarinet in the development of American art music
by Wright, Megan A., M.M.  California State University, Long Beach. 2014: 47 pages; 1528072.
173.
174.
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.
175.
The vocal chamber music of John David Earnest: A performer's guide
by Loehnig, Melissa Meredith, D.M.  The Florida State University. 2012: 101 pages; 3519346.
179.
Guide to improvisation for Mozart's serenade in Bb Major, K. 361, the "Gran Partita"
by Hatcher, Rishona, M.M.  California State University, Long Beach. 2012: 40 pages; 1521589.
180.
A discussion of Jennifer Higdon's setting of the poetry of Amy Lowell in the chamber work "Love Sweet"
by Leontis, Evangelia Sophia, D.M.A.  The University of North Carolina at Greensboro. 2017: 70 pages; 10263740.
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