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361.
The effect of timbre and pitch-pattern difficulty on the pitch perceptions of elementary-aged users of cochlear implants
by Soja, Morgan C., Ph.D.  The University of North Carolina at Greensboro. 2015: 149 pages; 3708183.
363.
Cognitive frameworks for the production of musical rhythm
by Chor, Ives, Ph.D.  Northwestern University. 2010: 164 pages; 3402412.
364.
Four -way stop contrasts in Hindi: An acoustic study of voicing, fundamental frequency and spectral tilt
by Dutta, Indranil, Ph.D.  University of Illinois at Urbana-Champaign. 2007: 139 pages; 3301265.
366.
Illuminating Postmodern Elements in the Music of John Cage
by Robertson, Casey, M.A.  California State University, Dominguez Hills. 2015: 170 pages; 10020172.
367.
The saxophone works of Karlheinz Stockhausen
by Bunt, Elizabeth, D.M.A.  The University of Arizona. 2010: 152 pages; 3438757.
369.
Production Effects on Perception: How Learning to Produce Sound Changes Auditory Perception
by Bixby, Keturah Naomi, Ph.D.  University of Rochester. 2017: 181 pages; 10623331.
372.
Relationships of Care with Pediatric Patients Requiring Long-Term Care
by Shroff, Ria, M.S.  Rensselaer Polytechnic Institute. 2020: 69 pages; 27830446.
374.
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.
375.
History and Techniques of Printmaking
by Haney, Amy, M.A.  Prescott College. 2015: 163 pages; 1590440.
376.
The development of works for choir and brass: A study of four representative works
by Armendarez, Christina Marie, D.M.A.  North Dakota State University. 2012: 68 pages; 3507170.
378.
A guide to performance practice: “Sonnets from the Portuguese” by Libby Larsen
by Cornelius, Polly Butler, D.M.A.  The University of North Carolina at Greensboro. 2011: 58 pages; 3457531.
379.
Mozart’s “Great” Mass: Sources, History, and Performance Practice
by Smith, Elliott H. , D.M.A.  University of Notre Dame. 2019: 135 pages; 27750576.
382.
Emotional availability: Foster caregiving experience
by Nelson, Dean R., Ph.D.  Colorado State University. 2012: 130 pages; 3551641.
383.
Generative Audio Systems: Musical Applications of Time-Varying Feedback Networks and Computational Aesthetics
by Surges, Gregory, Ph.D.  University of California, San Diego. 2015: 200 pages; 3741016.
384.
Campbell, Turner and dog training in Adam Freeman Pockross's “Every Good Boy Deserves Fudge”
by Pockross, Adam Freeman, M.F.A.  California State University, Long Beach. 2010: 14 pages; 1486518.
385.
Strategies and Repertoire for Teaching Students to Sing in Two Parts
by Niewoehner, Karen, M.M.Ed.  Minot State University. 2018: 78 pages; 10935114.
387.
What Burckhardt Saw: Restoration and the Invention of the Renaissance, c.1840-1904
by Hayes, Matthew, Ph.D.  New York University. 2017: 465 pages; 10260428.
388.
A companding technique to reduce PAPR in OFDM signals along with minimum companding distortion
by Chatla, Jaya Sreekar, M.S.  California State University, Long Beach. 2016: 67 pages; 10182133.
389.
Motif and Closure in Twentieth-Century Music: Bartók, Britten and Fauré
by Eng, Sher Ling Clare, Ph.D.  Yale University. 2012: 261 pages; 3525192.
390.
Introducing Post-tonal Techniques to the Beginning Musician
by Nix, Elizabeth Ashley, M.M.  University of Louisiana at Lafayette. 2014: 212 pages; 1585865.
361 - 390 of 3211 displayed.
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