<p> Part I is a composition, a song cycle, My Mother's Death, for a countertenor, a soprano (off stage) and a chamber ensemble. A set of poems was graciously and generously provided by a poet, David Hassler, Program &amp; Outreach Director of the Wick Poetry Center at Kent State University. My Mother's Death consists of four movements, and the duration is approximately 14 minutes. The work will include a coda featuring a special vocalization performed by members of the ensemble, representing the spirit of the deceased mother, Diana. Part II is a theoretical paper, Generative Principles in Schenkerian Performance Expression. My research begins with an in-depth investigation of The Art of Performance (2000), a posthumous publication of Heinrich Schenker (1868-1935). In my research, four hypotheses are presented, which are constructed from studies of Schenker's analytical and interpretive practices as well as current research on performance practice in related fields. The hypotheses are summarized into a single thesis in the concluding chapter. The outcome of my research attempts to offer a possible solution to reconstructing Heinrich Schenker's unfinished theory of performance. It also provides systematic approaches for performers to utilize as a basis for their musical interpretive practice. </p>

Thesis (Ph.D.) -- Florida State University, 2003. / Advisor: Judy K. Bowers, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-21-03). Document formatted into pages; contains 79 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2389. Adviser: John Grashel. Includes bibliographical references (leaves 99-108) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--University of Minnesota, 2005. / (UnM)AAI3198132. Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4334. Adviser: Keitha Hamann.

Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1713. Adviser: Joseph Manfredo. Includes bibliographical references (leaves 119-126) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2868. Adviser: Sam Reese. Includes bibliographical references (leaves 119-125) Available on microfilm from Pro Quest Information and Learning.

Thesis (EdD)--Open University.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2718. Adviser: Michael Ewald. Includes bibliographical references (leaves 91-94) Available on microfilm from Pro Quest Information and Learning.

Thesis (M.A.)--Ohio State University, 1955. / Includes bibliographical references (leaves 147-148). Available online via OhioLINK's ETD Center

One important component of music reading research is measurement, quantification, and evaluation of accuracy in sight-reading performance. Researchers have used various methods of assessment such as the sight-reading tests and scales, quantification of errors, and evaluation by expert examiners. These three methods of assessment have been used independently in research; however, they have never been tested to determine if they provide comparable analyses. This study, therefore, adapted the Watking-Farnum Performance Scale for wind instrumentalists to be used in the context of piano performance and then compared it to the two other assessment methods, more specifically Gilman's Scoring Algorithm and Expert Examiners. Each method of assessment was used to analyze the sight-reading performances of eight piano students on five newly composed exercises. The assessment procedures and subject assessments were then compared. It was found that these methods differed greatly in their assessment procedures as well as in their assessment of subjects.