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31.
“Sonata for Solo Violoncello” by George Crumb: A performance history
by Mehm, Claire, M.M.  California State University, Long Beach. 2010: 42 pages; 1490398.
32.
Important works for solo drum set as a multiple percussion instrument
by Nichols, Kevin Arthur, D.M.A.  The University of Iowa. 2012: 138 pages; 3516663.
33.
Traditional Irish Musical Elements in the Solo-Piano Music of Ryan Molloy
by Murphy, Brian Thomas, D.M.A.  The University of Southern Mississippi. 2019: 155 pages; 13879687.
34.
An overview of the oboe works of Simon A. Sargon
by Chandler, A. Dione, D.M.  The Florida State University. 2012: 172 pages; 3551117.
35.
Female solo entrepreneurs: A phenomenological study
by Shediak, Kimberly J., Ed.D.  Pepperdine University. 2014: 140 pages; 3631517.
36.
Óscar da Silva (1870–1958) Life and Solo Piano Works
by Campinho, Miguel Audaciano, D.M.A.  University of Hartford. 2015: 196 pages; 3701473.
41.
Neurocognitive Predictors of Flight Performance of Successful Solo Flight Students
by Emery, Brian, Ph.D.  Northcentral University. 2011: 351 pages; 3489209.
42.
The liturgical organist: The creative use of solo organ music in the Lutheran liturgy
by Hamilton, Thomas Keith, D.M.A.  The University of Iowa. 2014: 76 pages; 3680079.
43.
A miniature portrait of Finnish nationalism: Four solo-songs by Jean Sibelius
by Liem, Christina F., M.M.  California State University, Long Beach. 2014: 70 pages; 1527015.
44.
The solo piano works of Henri Dutilleux: A stylistic analysis
by Suniga, Rosemarie, D.M.A.  University of South Carolina. 2011: 133 pages; 3494404.
45.
The life and solo vocal works of Margaret Allison Bonds (1913-1972)
by Kilgore, Alethea N., D.M.  The Florida State University. 2013: 149 pages; 3612442.
46.
Electronic medical records adoption between solo and group practices versus health maintenance organizations
by Aksoy, Melissa, M.H.A.  California State University, Long Beach. 2013: 42 pages; 1522615.
47.
Acting Alone: Solo Female Performers, Their American Audiences, and Embodiment
by Boyle, Jamie Libby, Ph.D.  University of South Carolina. 2012: 210 pages; 3523089.
48.
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.
49.
African folk drum-ensemble works adapted for solo drum set
by Mailloux, Joseph, M.M.  California State University, Long Beach. 2011: 66 pages; 1499180.
51.
Revisit, rewrite, record: Reimagining classic records from conception to arrangement to recording in the digital age
by Iwataki, Dave Michael, M.M.  California State University, Los Angeles. 2016: 241 pages; 10141145.
52.
Poulenc's Development as a Piano Composer: A Comparison of the Solo Piano Works and the Mélodies
by Severtson, Kirk A., D.M.A.  University of Cincinnati. 2005: 163 pages; 10857204.
53.
An Examination and Analysis of the Extended Techniques Used in William O. Smith’s Variants for Solo Clarinet
by Galbreath, Jonathan, M.M.  California State University, Long Beach. 2019: 25 pages; 13858526.
54.
The craft of spontaneous composition: How jazz saxophonists have approached the instrumental solo in pop music
by Castaneda, Ramsey H., M.M.  California State University, Long Beach. 2014: 36 pages; 1527896.
56.
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.
57.
Eugène Ysaÿe and the Inspiration Behind Sonata No. 1 in G Minor for Solo Violin
by McAllister, Emma E., M.M.  California State University, Long Beach. 2017: 23 pages; 10262512.
59.
James Francis Burke's "Zorita" (c. 1968): A transcribed edition for solo cornet and brass quintet
by Bennett, Wayne Clifford, III, D.M.A.  The University of North Carolina at Greensboro. 2013: 59 pages; 3568819.
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