Thesis (M.A.)--University of Rochester, 1976. / Typewritten. Pieces analyzed: Symphony no. 4.--Mosaics.--Symphony no. 6. Bibliography: l. 254-255. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/2019

Thesis (M.A.)--University of Wisconsin--Madison, 1950. / Typescript. eContent provider-neutral record in process. Description based on print version record.

Thesis (M.A.)--University of Rochester, 1981. / Typescript (photocopy). Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5996

Thesis (D.M.A.)--University of Oklahoma, 1996. / Includes bibliographical references and discography (leaves 160-161).

No description available.

Thesis (Th. M.)--Capital Bible Seminary, 1986. / Bibliography: leaves 77-81.

abstract: This is a study of scientific realism, and of the extent to which it is undermined by objections that have been raised by advocates of various forms of antirealism. I seek to develop and present a version of scientific realism that improves on past formulations, and then to show that standard antirealist arguments against it do not succeed. In this paper, I will first present my formulation of scientific realism, which conceives of theories as model-based and as fundamentally non-linguistic. I advocate an epistemic position that accords with indirect realism, and I review and assess the threat posed by theses of underdetermination. Next, I review and discuss three important views: the antirealist constructivist view of Thomas Kuhn, the realist view of Norwood Hanson, and the antirealist constructive empiricist view of Bas van Fraassen. I find merits and flaws in all three views. In the course of those discussions, I develop the theme that antirealists' arguments generally depend on assumptions that are open to question, especially from the perspective of the version of realism I advocate. I further argue that these antirealist views are undermined by their own tacit appeals to realism. / Dissertation/Thesis / Ph.D. Philosophy 2013

In 1939, during his studies at the Eastman School of Music, John La Montaine (1920-2013) composed a Scherzo for four trombones. The Scherzo was revised more than 60 years later, becoming the third movement of a three-movement trombone quartet completed in 2001. Interestingly, the same Scherzo subsequently appeared in two of his later works: first the final movement of his Piano Concerto No. 4 Op. 59 (1989) and 12 years later as the final movement of a three-movement Trombone Quartet. The thesis presents a detailed account of the compositional history of the Scherzo, its connection to the first two movements, and a performance edition of the Scherzo based on my collaboration with the composer between for five years from 2003 to 2007.

Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s of Music Education degree. Enclosed is information pertaining to quality literature selection, a music education philosophy, theoretical and historical analyses, and rehearsal plans for the Graduate Conducting Recital of Anna K. Eaverson held on Wednesday, March 19, 2010. The analytical methods used in this document are based on the Blocher/Miles unit studies found in the Teaching Music Through Performance in Band series as well as macro-micro-macro score analysis. The selections analyzed using these methods include Symphony in Brass by Eric Ewazen, Dances with Winds by Shelley Hanson, and March from Symphonic Metamorphosis of Themes by Carl Maria von Weber by Paul Hindemith.

This paper investigates the effect of the reduction of transport cost Oresundsbron has caused between the two subregions of the Oresund-region. The paper utilizes the the Helpman (1998) model and the procedure used by Hanson (2005) for estimating this equation. The paperbrings a clear inside into the method and thus provides an excellent start-ing position.