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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.
2.
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.
4.
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.
7.
Swingin' to the Beat of Our Own Drum: Developing an Effective Jazz History Pedagogy
by McGeough, Tyler Joseph, M.M.  California State University, Long Beach. 2018: 44 pages; 10785221.
8.
The effect of instrumental proficiency on jazz vocal improvisation
by Preponis, Francesca Delfin, M.M.  California State University, Long Beach. 2009: 57 pages; 1472244.
9.
Lah-Day-Yah: The Role of the Wordless Vocal Line in Contemporary Jazz
by Battley, Loren, M.M.  California State University, Long Beach. 2018: 39 pages; 10786105.
12.
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.
13.
Evaluative Study of Jazz History Courses at the Collegiate Level
by Bergeron, Charles L., Ed.D.  Nova Southeastern University. 2018: 169 pages; 27544108.
17.
A pedagogical approach to jazz singing that incorporates instrumental techniques
by Gasque, Courtney, M.M.  California State University, Long Beach. 2012: 47 pages; 1517630.
18.
Joe Henderson: An analysis of harmony in selected compositions and improvisations
by White, Arthur Lynn, D.M.A.  The University of North Carolina at Greensboro. 2008: 123 pages; 3307327.
21.
Non-curricular elements to a successful university jazz performance program: A study of UNT, IU, and CSULB
by Ninmer, Andrew J., M.M.  California State University, Long Beach. 2014: 44 pages; 1528009.
22.
Hybridity and Identity in the Pan-American Jazz Piano Tradition
by Scott, William D., Ph.D.  University of Pittsburgh. 2019: 245 pages; 13857362.
23.
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.
24.
Jenks Public Schools Vocal Music Department: A 100 year history
by Trammell, Brenda L., Ph.D.  The University of Oklahoma. 2012: 223 pages; 3507426.
25.
"Are You Listening?": Vocal Polyphony in the Christian Rock Music of Emery
by Schneider, Alexandria, M.M.  University of Kansas. 2019: 107 pages; 13885703.
26.
Improving the singer's understanding of bebop language: Transcription application
by Calderwood, Andrea, M.M.  California State University, Long Beach. 2014: 64 pages; 1569377.
27.
Blue Hayes: An analysis of the performance style of jazz saxophonist Tubby Hayes
by Orgill, Edward Roy, D.A.  University of Northern Colorado. 2008: 117 pages; 3318427.
28.
Perceptions of adolescent female singers on their singing and training
by McRoy, Danielle Marie, Ed.D.  Teachers College, Columbia University. 2011: 185 pages; 3484376.
29.
30.
Commercial jazz trumpet style: A comparison of leading trumpeters Freddie Hubbard and Roy Hargrove
by Wade, Steven, M.A.  California State University, Long Beach. 2011: 82 pages; 1504549.
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