Thesis (doctoral)--Helsingin yliopisto, 1989. / Abstract and summary in English. Added t.p. with thesis statement inserted. Includes bibliographical references and index.

Thesis (Ph. D.)--University of California, 1965. / Includes bibliographical references (leaves 512-519).

Thesis (D.Mus. Arts)--University of Washington, 1985. / Vita. Bibliography: leaves [150]-157.

No description available.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

No description available.

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains v, 64 p. Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2005. / Vita. Includes bibliographical references: P. 322-340.

Thesis (M.M.)--Missouri State University, 2008. / "December 2008." Includes bibliographical references (leaves 34-35). Also available online.

In this dissertation, I examine Stevie Wonder's compositional style from his celebrated "classic period," (1972-1976) focusing specifically on the concentrated two-year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction between these two related but distinct systems and the resulting effect their usage has on melody and harmony. Using Schenkerian reductive analysis as my primary tool, I uncover recurring patterns that shape and shed light on his style. The final chapter of this study focuses on the ways in which Wonder's improvised melodic lines relate to the voice-leading framework of the basic melodic ideas in his performance of "I Love Every Little Thing About You" and also the ways in which his improvisation impacts forward motion in the course of this song.