Thesis (M.A.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Jan. 12, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 42-44.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 223-230).

Thesis (Ph. D.)--University of California, San Diego, 2010. / Title from 1st page of PDF file (viewed July 8, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: Leaves 147-154.

abstract / Music / Master / Master of Philosophy

Thesis (Ph. D.)--University of Arizona, 1982. / Typescript. Includes bibliographical references (leaves 226-236).

Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.

Wong Hoi Sze Susanna. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 55-59). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One. --- Historical Perspective / Political Cultural and Background of Estonia --- p.6 / Arvo Part: A Biographical Sketch --- p.10 / Stylistic Changes / Early Tonal Works --- p.14 / Part's Serial Technique --- p.16 / Chapter Chapter Two. --- Tintinnabuli Style and Its Timbre / The Inert Period --- p.18 / The Influence of Early Music on Psrt --- p.20 / The Principle of the Tintinnabuli Method --- p.22 / The Importance of Bells to s Tintinnabulation --- p.27 / Chapter Chapter Three. --- Analyses of Tintinnabuli Compositions / Fur Alina --- p.30 / Cantus in Memory of Benjamin Britten --- p.38 / De Profundis --- p.45 / Conclusion --- p.53 / Bibliography --- p.55

Thesis (D.M.A.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 155-160). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.M.)--University of Rochester, 1932. / Typewritten. Bibliography: l. 55. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4109

Thesis (D. Mus. Arts)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [165]-176).