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91.
The Natural Settings Project: Choreographing and Researching Site-Specific Dance
by Randall, Jill Homan, M.F.A.  Saint Mary's College of California. 2016: 83 pages; 10151061.
92.
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.
94.
A Guide to Kevin Poelking's By the Hands That Reach Us
by Poelking, Kevin, M.M.  Colorado State University. 2019: 94 pages; 13815250.
95.
Playing to win: A cultural sociology of the international music competition
by McCormick, Lisa Lorraine Helen, Ph.D.  Yale University. 2008: 241 pages; 3342731.
98.
A method for teaching jazz improvisation to beginning pianists in a group setting
by Nam, Soyoung, M.M.  California State University, Long Beach. 2010: 61 pages; 1490402.
99.
Contemporary jazz arranging techniques: A study in time, orchestration, and style
by Cook, Michael, M.M.  California State University, Long Beach. 2011: 59 pages; 1499240.
101.
The “Violin Concerto in E minor”, opus 1, by Jules Conus– Historical, performance, and pedagogical perspectives
by Richardson, Marguerite Bradford, D.M.  The Florida State University. 2011: 77 pages; 3477201.
102.
Mutual Relationships: an Aesthetic Analysis of Jo Kondo's "High Window"
by Liberatore, John, Ph.D.  University of Rochester. 2014: 93 pages; 3644907.
103.
Classical and Jazz Influences in the Music of Nikolai Kapustin: Piano Sonata No. 3, Op. 55
by Tyulkova, Yana, D.M.A.  West Virginia University. 2015: 99 pages; 3702047.
105.
Voices of survival: Opera in Theresienstadt
by Marcus, Jackelyn, M.A.  Florida Atlantic University. 2012: 130 pages; 1517841.
106.
108.
Hindemith's Sonata for Viola, ope 11, no.4 A compositional and historical perspective
by Solano, Erica Angeline, M.S.  California State University, Long Beach. 2012: 37 pages; 1517793.
109.
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.
110.
Aesthetic reflections on Viktor Ullmann's “Der Kaiser von Atlantis”
by Ross, R. Hugh, M.M.  California State University, Long Beach. 2011: 51 pages; 1504529.
111.
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.
112.
William Kraft's “Concerto for Timpani and Orchestra”: The history, creation, and performance
by Frigillana, Damion Edan, M.M.  California State University, Long Beach. 2010: 55 pages; 1493021.
113.
Gambists, Cellists, and Their Compositions from the Baroque to the Modern Era: A Case for Continuing this Tradition Today
by Castleton, Seth Thomas, D.M.A.  University of Maryland, College Park. 2018: 96 pages; 10825525.
114.
Interaction of Positive Coactivator 4 (PC4) with G-Quadruplex DNA: An Expanded Model of Structured DNA Recognition
by Griffin, Wezley C., Ph.D.  University of Arkansas for Medical Sciences. 2017: 195 pages; 10637444.
115.
A Miracle of Virtuosity: Joseph Achron as a Prodigy Performer-Composer
by Zerin, Samantha Elisheva, Ph.D.  New York University. 2020: 206 pages; 27668011.
116.
117.
Óscar da Silva (1870–1958) Life and Solo Piano Works
by Campinho, Miguel Audaciano, D.M.A.  University of Hartford. 2015: 196 pages; 3701473.
118.
A Performance Guide to "First Lines" for Flute and Piano
by Murchison, Pamela, D.M.A.  West Virginia University. 2014: 145 pages; 3672923.
120.
Blues signifying and the trickster figure in the improvisations of Johnny Hodges, Charlie Parker, and Ornette Coleman
by Calhoun, Fraser C., M.M.  The William Paterson University of New Jersey. 2016: 118 pages; 10003779.
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