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1.
Collaborative crossover: Identifying classical vocal collaborative piano practices in jazz vocal accompanying
by Morgenroth, David Jonathan, D.M.A.  University of North Texas. 2015: 174 pages; 10034354.
5.
Articulation and Altered Auditory Feedback
by Bakst, Sarah G., Ph.D.  University of California, Berkeley. 2017: 100 pages; 10620793.
6.
Perceptions of adolescent female singers on their singing and training
by McRoy, Danielle Marie, Ed.D.  Teachers College, Columbia University. 2011: 185 pages; 3484376.
7.
Transitioning from classical choral direction to the vocal jazz ensemble: A practical approach
by Brekke, Ian J., M.M.  California State University, Long Beach. 2013: 43 pages; 1523257.
10.
Contemporary commercial music (CCM) singers: Lifestyle choices and acoustic measures of voice
by Foote, Alexander Gavin, M.A.  State University of New York at Buffalo. 2015: 64 pages; 1594707.
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12.
Biagio Marini and the meanings of violin music in the early seicento
by Cypess, Rebecca Schaefer, Ph.D.  Yale University. 2008: 347 pages; 3317261.
13.
Invariant Recognition of Vocal Features
by Moore, Richard Channing, III, Ph.D.  University of California, Berkeley. 2011: 70 pages; 3616333.
15.
Vocal Pedagogy and the Adolescent Female Singing Voice
by Caldretti, Melissa, M.M.  California State University, Long Beach. 2017: 79 pages; 10263755.
16.
Finding a vocal path through depression
by Magnis, Elizabeth Shannon, Ph.D.  Pacifica Graduate Institute. 2011: 74 pages; 3528241.
17.
Teacher Views on Teacher Voice: Elementary Music Teacher Perceptions of Voice Use in the Workplace
by Stephenson, Kimberly Jean, Ed.D.  Teachers College, Columbia University. 2018: 261 pages; 10933284.
18.
A cortical locus modulates vocal motor sequences in Alston's singing mouse (Scotinomys teguina)
by Okobi, Daniel Ebele, Jr., Ph.D.  New York University. 2016: 136 pages; 10025664.
19.
Physiological interface in online learning environments: Vocal expression as an anxiety indicator
by Cornachione, Edgard Bruno, Jr., Ph.D.  University of Illinois at Urbana-Champaign. 2008: 187 pages; 3347586.
20.
The vocal chamber music of John David Earnest: A performer's guide
by Loehnig, Melissa Meredith, D.M.  The Florida State University. 2012: 101 pages; 3519346.
21.
"Are You Listening?": Vocal Polyphony in the Christian Rock Music of Emery
by Schneider, Alexandria, M.M.  University of Kansas. 2019: 107 pages; 13885703.
22.
The influence of auditory feedback on vocal sequence production
by Manderscheid, Etienne Gerald, Ph.D.  The University of Chicago. 2014: 186 pages; 3627856.
23.
The adaptation of contemporary instrumental jazz to arrangements for the vocal jazz ensemble
by Mostin, Sherrine Marie, M.M.  California State University, Long Beach. 2011: 44 pages; 1499280.
24.
Females teaching high school male singers: Overcoming vocal differences
by Johnson, Jaclyn M., M.M.  California State University, Long Beach. 2011: 128 pages; 1504484.
25.
Metric Experiments in Benjamin Britten's Vocal Music: 1943-1945
by Duncan, Stuart Paul, Ph.D.  Yale University. 2017: 198 pages; 10633242.
26.
Jenks Public Schools Vocal Music Department: A 100 year history
by Trammell, Brenda L., Ph.D.  The University of Oklahoma. 2012: 223 pages; 3507426.
27.
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.
28.
Ticket: A Rape Culture Story Composed for Vocal Performer and Percussion Quartet
by Adams, Briana Harley, M.M.  California State University, Long Beach. 2019: 27 pages; 13860456.
29.
The effect of instrumental proficiency on jazz vocal improvisation
by Preponis, Francesca Delfin, M.M.  California State University, Long Beach. 2009: 57 pages; 1472244.
30.
The effects of response interruption and redirection on vocal stereotypy
by Joung, Eun Gi, M.S.  University of Kansas. 2011: 67 pages; 1499791.
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