Thesis (M.M.)--University of North Texas, 2003. / Includes bibliographical references (p. 176-178).

Thesis (D.M.A.)--University of North Texas, 2003. / Accompanied by 4 recitals, recorded Apr. 24, 2000, Apr. 9, 2001, Sept. 17, 2001, and Apr. 21, 2003. Includes bibliographical references (p. 37-39).

Thesis (M.A.)--Ohio State University, 1982. / Includes bibliographical references (leaves 103-108). Available online via OhioLINK's ETD Center.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaf 118). Available also in a digital version from Dissertation Abstracts.

Thesis--Indiana University, 2006. / Computer printout. Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1145. Adviser: Mary H. Wennerstrom. Includes bibliographical references (leaves 303-308), abstract, and vita.

Thesis (Ph. D.)--Ohio State University, 1980. / Includes bibliographical references (leaves 111-112). Available online via OhioLINK's ETD Center.

The problem of this study was to make a transcription of Lincoln Portrait for symphonic band. There is a drastic need for music of a better quality and music by modern composers for symphonic band.The problems of this study concern the following major phases: first, the instrumentation of the work;second an analysis from the point of view of the problem; third, a band transcription of Lincoln Portrait for symphonic band.

No description available.

Aaron Copland has been in the forefront of the American musical scene since the 1920s. He has been called an "American composer" for his ability to formulate the essence of American folk music into a wide variety of mediums. The variety and scope of his compositions encompass a diverse array of styles and techniques. From the jazz influenced works that dominated his early period to the works for Hollywood films, from the chamber music that was directly influenced by his Jewish background to the partial acceptance of serial technique, Copland has managed to delve equally into all these styles. Yet, one could arguably rank his works for the stage as his most popular and generally most successful compositions of his career. The extent to which the American public has accepted these works as being "folk" is a case for the genius and adaptability of Copland's talent. Although works like Appalachian Spring, Rodeo, and Lincoln Portrait command the attention of the general public, of whom Aaron Copland was constantly aware, there are works for the piano that deserve and demand close study by pianists. One such work is the Piano Variations. Written in 1930, it has been acknowledged as a twentieth century masterpiece in publications for piano and piano literature as well as by pianists since its premiere in 1931. It is a brutal and sparse work that encompasses a quasi-serial technique in which the motto of four notes transforms itself through the course of twenty variations and a coda. The demands of learning a work such as this can be overwhelming for the pianist not accustomed to the rigors of a non-diatonic piece. However, a careful analysis precipitated by specific questions directed not only at learning the piece but also with the goal of performance in mind, can shape the interpretational issues that will eventually face the pianist. The questions that I pose are directly pulled from Michael Remson's article, "Copland's Piano Variations: A Forgotten Masterpiece." Although it is considered by this writer as an introduction to the technique of serialism, largely because of the classical practices among which are tonal center, period structure and interruptions of the motto, Copland's Piano Variations is a classic example of a twentieth century work that will be heard as avant-garde and studied in the style of late Romanticism.

About 8.3% of individuals diagnosed with diabetes mellitus (DM) are diagnosed with comorbid depression, a higher rate than the general adult population. This project examined the differences of depression symptoms experienced between diabetic and matched non-diabetic individuals and the relationship of daily activity and nutrition behaviors with depression between these groups. The 2005-2006 National Health and Nutrition Examination Survey (NHANES) was utilized to assess: depression symptoms, diabetic glycemic control as measured by glycoginated hemoglobin (HbA1c), amount of physical activity, percentage of macronutrients, daily frequencies of foods consumed, and the use of nutritional food labels to make food choices. A sample of diabetic (n = 451) and non-diabetic individuals (n = 451) were matched to on age, gender, ethnicity, and education. The diabetic individuals experienced greater depression on both continuous and ordinal diagnostic variables. Counter to expectation, there was no relationship observed between depression and HbA1c in diabetic individuals, r = .04, p > .05.