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3.
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.
4.
Music of the imperial ballet in tsarist Russia: The collaboration of the composer and the balletmaster
by Lombardino, Marc Rene, M.A.  California State University, Long Beach. 2015: 159 pages; 1599185.
7.
A guide to pedagogy and technique in Alfredo Piatti's Twelve Caprices, Op. 25 (1865)
by Ryan-Kelzenberg, Matthew A., D.M.A.  Arizona State University. 2009: 92 pages; 3385203.
8.
Black Composers of the Classical Music Genre from the Eigthteenth Century to the Twenty-First Century
by Joyner, Amyr, D.M.A.  University of Maryland, College Park. 2020: 74 pages; 27738593.
10.
The articulation of time in the Seventh Symphony of Jean Sibelius: Toward informed performance
by Boyer, Maurice Christian, D.M.A.  University of Maryland, College Park. 2012: 222 pages; 3517642.
11.
Crossing over: Examining the challenges of a classically trained female performing music theater repertoire
by Moriarty, Bridget Maureen, D.M.A.  The University of North Carolina at Greensboro. 2015: 92 pages; 3708153.
12.
Sons of Orpheus: An archetypal phenomenological exploration of music, men, and intimacy
by Thomas, Douglas Craig, Ph.D.  Pacifica Graduate Institute. 2010: 279 pages; 3447667.
13.
Woodrow Wilson's Diplomatic Policies in the Russian Civil War
by Wayson, Donald, M.L.S.  The University of Toledo. 2009: 69 pages; 10835883.
14.
Mapping Mystery: Brelet, Jankélévitch, and Phenomenologies of Music in Post-World War II France
by McBrayer, Benjamin M., Ph.D.  University of Pittsburgh. 2017: 257 pages; 10692472.
15.
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.
17.
Arranging for School Full Orchestras with Incomplete Instrumentation
by Meckler, Jennifer, M.M.  The William Paterson University of New Jersey. 2020: 356 pages; 27668002.
19.
Between modern and postmodern worlds: Theodor W. Adorno's struggle with the concept of musical kitsch
by Barnes, Molly L., M.A.  The University of North Carolina at Chapel Hill. 2012: 59 pages; 1518411.
20.
Altruism, evolution and optional games
by Roseman, Herbert, Ph.D.  Columbia University. 2008: 300 pages; 3299363.
21.
From beginning to end: Preparations needed to perform Stravinsky's Octet
by Bartel, Candace, M.M.  California State University, Long Beach. 2009: 43 pages; 1472308.
22.
Chamber Music in Early Piano Study: A Guide to Repertoire
by Anderson, Dianna, D.M.A.  University of Cincinnati. 2004: 164 pages; 10857199.
23.
Engaging dance audiences through irony?
by Glabe, Heather, M.F.A.  California State University, Long Beach. 2013: 89 pages; 1523271.
25.
Playing to win: A cultural sociology of the international music competition
by McCormick, Lisa Lorraine Helen, Ph.D.  Yale University. 2008: 241 pages; 3342731.
27.
Graph-Based Rhythm Interpretation in Optical Music Recognition
by Jin, Rong, Ph.D.  Indiana University. 2017: 135 pages; 10642136.
28.
Some Statistical Properties of Tonality, 1650-1900
by White, Christopher Wm., Ph.D.  Yale University. 2013: 332 pages; 3578472.
30.
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