Treatise (D.M.A.)--University of Texas at Austin, 2004. / Supervisors: Andrew Dell'Antonio and Ray Sasaki. Vita. Includes bibliographical references. Also available from UMI.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 62-67). Also available on the Internet.

Thesis (D.M.A.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed May 5, 2009). PDF text: xi, 126 p. : music ; 2 Mb. UMI publication number: AAT 3344729. Includes bibliographical references. Also available in print, microfilm and microfiche formats.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Title from PDF t.p. (viewed May 11, 2010). Directed by Randy Kohlenberg; submitted to the School of Music. Includes bibliographical references (p. 76-81).

Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of California, Los Angeles, 1986. / Vita. Includes bibliographical references (leaves 1052-1072).

abstract: The modern day tubist has an expanded collection of solo tuba repertoire that continues to grow in quantity and in difficulty, making it necessary to utilize all the tools available to improve musicianship and performance ability. In this capacity, the use of transcribed material serves as a vital method of cross training in order to develop skills which assist the performance of modern tuba literature. Rather than focusing on transcriptions solely to engage with musical eras that the tuba would not otherwise have access to, the tubist can use transcribed material as supplementary or even prerequisite repertoire. This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures. / Dissertation/Thesis / Doctoral Dissertation Music 2016

abstract: Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close. / Dissertation/Thesis / D.M.A. Music 2013

The serpent, an extinct musical instrument, was important to the development of contemporary low brass. Its characteristics, performance problems, and literature give insight into its development as well as reasons for its ultimate demise and replacement with technically more advanced instruments.

Document accompanying a transcription for solo euphonium and large brass ensemble of three arias, "Ecco ridente in cielo," "Largo al factotum," and "A un dottor della mia sorte," from Gioacchino Rossini's opera The Barber of Seville. Includes overviews of the arias' texts and contexts, orchestrational techniques in the transcriptions, the history and definition of the term "euphonium," and the history of the large brass ensemble in the United States.