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31.
Composing Freedom: Elliott Carter's ‘Self-Reinvention’ and the Early Cold War
by Guberman, Daniel, Ph.D.  The University of North Carolina at Chapel Hill. 2012: 243 pages; 3512635.
32.
Mátyás Seiber's twelve -tone technique
by Lee, Bettina, D.M.A.  City University of New York. 2010: 123 pages; 3412820.
33.
Form, Style, and Influence in the Chamber Music of Antonin Dvořák
by Rockwood, Mark F., Ph.D.  University of Oregon. 2017: 125 pages; 10599325.
34.
Hydration of r(UGGGGU) quadruplexes
by Fyfe, Alastair, Ph.D.  University of California, Santa Cruz. 2012: 171 pages; 3521774.
35.
Performance practice of the Brahms Clarinet Quintet, Op. 115
by Cummins, Monica L., M.M.  California State University, Long Beach. 2012: 40 pages; 1517609.
37.
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.
38.
Blueprints for Outreach: Educational Concerts for the Solo Violinist
by Sahely, Megan, D.M.  The Florida State University. 2018: 96 pages; 10784552.
39.
40.
Illness narratives in nineteenth-century German instrumental music
by Olander, Deborah Mutch, Ph.D.  The Florida State University. 2008: 332 pages; 3348525.
41.
What Makes a Difference? An Exploratory Study of Small Group Interactions
by Hebabi, Lise, Ph.D.  Fielding Graduate University. 2016: 194 pages; 10076120.
42.
Mysticism in 20th and 21st century violin music
by Bagley, Paul Michael, D.M.A.  University of Maryland, College Park. 2014: 28 pages; 3643907.
43.
Awareness through the capture of surrounding sounds
by Neumann, Stephanie, M.A.  Mills College. 2015: 49 pages; 1589487.
44.
Phylogenetic supertree methods
by Swenson, Michelle Dawn, Ph.D.  The University of Texas at Austin. 2009: 143 pages; 3615224.
45.
Metric dissonance and hypermeter in the chamber music of Gabriel Fauré
by Vonfoerster, Richard, Ph.D.  University of Colorado at Boulder. 2012: 297 pages; 3508153.
46.
A theory for the visual perception of object motion
by Norman, Joseph W., Ph.D.  Florida Atlantic University. 2014: 230 pages; 3647571.
47.
The violist as composer
by Hart, Sarah Marie, D.M.A.  University of Maryland, College Park. 2015: 58 pages; 3711607.
48.
Remembering Her Passionate Voice: A Performer's Guide to Jake Heggie's "Camille Claudel: Into the Fire"
by Alford, Erin Alexandra, M.M.  California State University, Long Beach. 2017: 126 pages; 10264089.
49.
Chamber Music in Early Piano Study: A Guide to Repertoire
by Anderson, Dianna, D.M.A.  University of Cincinnati. 2004: 164 pages; 10857199.
50.
The solo horn and organ tradition: An analysis of Peteris Vasks's "Musique du Soir"
by Teteris, Melisandra Elizabeth, M.M.  California State University, Long Beach. 2016: 41 pages; 10131633.
51.
Theodor Adorno and Alban Berg: The Crossroads Between Philosophy and Music
by Rich, Morgan M., Ph.D.  University of Florida. 2016: 219 pages; 10679169.
52.
Beethoven's late style in his last five piano sonatas
by Lai, Wei-Ya, D.M.A.  University of Cincinnati. 2009: 148 pages; 3371493.
54.
The juxtaposition of Korean and Western practices in Yong Nan Park's works
by Yun, Youngjin, D.M.  The Florida State University. 2013: 60 pages; 3612539.
55.
Rebecca Clarke's Sonata for Viola and Piano: Analytical Perspectives from Feminist Theory
by Savot, Carlynn Heather, D.M.A.  University of Connecticut. 2011: 74 pages; 3492165.
56.
Motif and Closure in Twentieth-Century Music: Bartók, Britten and Fauré
by Eng, Sher Ling Clare, Ph.D.  Yale University. 2012: 261 pages; 3525192.
57.
Blue Hayes: An analysis of the performance style of jazz saxophonist Tubby Hayes
by Orgill, Edward Roy, D.A.  University of Northern Colorado. 2008: 117 pages; 3318427.
60.
Schubert's Recapitulation Scripts
by Guez, Jonathan, Ph.D.  Yale University. 2015: 362 pages; 3663491.
31 - 60 of 939 displayed.
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