Thesis (Ph. D.)--University of Hong Kong, 1994. / Includes bibliographical references (leaves 193-202).

Thesis (Ph. D.)--University of Southern California, 1988. / Includes bibliographical references (leaves 264-313).

Thesis (doctoral)--Universität Leipzig, 1909. / Bibliography: p. [v]-vi.

Thesis (M.M.)--University of Wisconsin--Madison, 1939. / Typescript. eContent provider-neutral record in process. Description based on print version record.

Thesis (D.M.A.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed Aug. 22, 2007). PDF text: 422 p. : music, facsim. UMI publication number: AAT 3211384. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 171-182).

Advanced cello students and their studio teachers have a wide range of literature to study and perform that spans approximately 400 years. Despite this wealth of repertoire, advanced music from the classical era is often understudied or overlooked due to difficulties of the accompanying part, written either for the piano or the orchestra. For example, Beethoven’s cello sonatas tend to be avoided by teachers of advanced young students because of the difficulties in securing a pianist. Additionally, Haydn’s cello concerti demand a great deal of rehearsal time with an experienced pianist in preparing the student to perform with a full ensemble. The purpose of this study is to provide pedagogical assistance to the cello studio teacher of advanced students. This detailed teaching edition reduces the original accompaniment into a single cello part to be played by the studio teacher during lessons. The transcriptions do not replace the music written for the piano, but functions as a three-part pedagogical bridge: teaching the student the solo; accompanying the student in the cello reduction; and preparing the student to play with the accompaniment as originally conceived. The two compositions presented in this aid are Beethoven’s Sonata for Cello and Piano No. 3 in A major, Op. 69 and Haydn’s Cello Concerto No. 1 in C major, Hob. VIIb.1. This practical study will refer to An Annotated Translation of Evegeny Shenderovich’s Overcoming Technical Difficulties in the Piano Transcriptions of Orchestral Scores by Marcelina Turcanu.

Beethoven's piano sonatas are possibly the greatest achievement in piano literature, perhaps in all musical literature. It has been said that if the forty-eight preludes and fuges of Bach's "Well-tempered Clavier" were to be considered the "Old Testament" of music, then Beethoven's thirty-two sonatas would have to be the "New Testament."

Draws a comparison between the piano variation techniques of Beethoven and Copland with reference only to the two works discussed herein, Thirty-Two Variations and Piano Variations, with the intent of gaining from these isolated examples knowledge of the changes in variation writing from Beethoven's time to the present.