Thesis (doctoral)--University of Minnesota, 1997.

Thesis (D.M.A.)--University of North Texas, 2003. / Accompanied by 3 recitals, recorded Apr. 27, 2000, Nov. 28, 2000, and Oct. 31, 2001; videocassette not dated. Includes bibliographical references (p. 141-149).

Thesis (D.M.A.)--University of North Texas, 2003. / Original copy accompanied by 3 recitals, recorded Apr. 27, 2000, Nov. 28, 2000, and Oct. 31, 2001; videocassette not dated. Lacking in UMI copy. Includes bibliographical references (p. 141-149).

Thesis (D.M.A.)--University of North Texas, 2003. / Original copy accompanied by 3 recitals, recorded Apr. 27, 2000, Nov. 28, 2000, and Oct. 31, 2001; videocassette not dated. Lacking in UMI copy. Includes bibliographical references (p. 141-149).

The purpose of this dissertation is to introduce and provide a pedagogical guide for two etude works by Lowell Liebermann (b. 1961): Four Etudes on Songs of Brahms, Op. 88 (2004) and Four Etudes on Songs of Robert Franz, Op. 91 (2005). It includes a brief biography and observations on the compositional style of the composer; a history and development of the etude from the eighteenth century to Liebermann's time; research on Liebermann's works based on songs of other composers; and a pedagogical guide on how to approach each piece, covering four types of technical issues: articulation, phrasing, voicing of the melodic lines, and fingerings.

Hamburg, Universiẗat, Diss., 2000.

This thesis explores the eleven solo piano nocturnes by living American composer Lowell Liebermann (b. 1961), to serve as a performer's guide. Characteristics of previous nocturnes provide historical context for Liebermann's pieces, illustrating similarities to the style developed by John Field, Frédéric Chopin, and Gabriel Fauré. Other musical influences on Liebermann, such as Ludwig van Beethoven and Ferruccio Busoni, demonstrate his relationship to the Western art music tradition and placement within the canon. Four distinct facets of Liebermann's musical style are presented: his reliance on traditional formal practices, motivic coherence, his particular harmonic vocabulary, and his use of texture. Liebermann's works use consonant triads, third relations, and smooth voice leading; because of these features, Neo-Riemannian models are suggested as a potential lens through which to view and analyze these pieces. In particular, hexatonic systems and their depiction of the musically "uncanny" relate to how Liebermann's music can have a sort of "defamiliarizing" and destabilizing effect on the listener. The salient musical features of motivic coherence, harmonic relationships, and formal innovations within tradition are presented for each nocturne alongside descriptions of musical character, to capture the essence and spirit contained within the works. The pieces verge on the fantastic and the rhapsodic, demonstrating Liebermann's imaginative approach to tradition. By utilizing a harmonic language that both synthesizes gestures of the past with a rich history of suggestive emotional content, and that innovates with a more modern and dissonant sensibility, Lowell Liebermann has achieved a distinctive musical vocabulary that captures the poetic and dark essence of nocturnes.

Thesis (M.B.A.)--University of Hong Kong, 1994. / Includes bibliographical references.

The purpose of this essay is to encourage the study and performance of trumpet concertos written by notable contemporary composers. The essay focuses on two outstanding trumpet concertos composed in recent years: Lowell Liebermann’s Concerto for Trumpet and Orchestra, op. 64 and John Williams’ Concerto for Trumpet and Orchestra. The essay specifically provides the following information: 1) a concise history of the concerto for trumpet, 2) a short biography of Lowell Liebermann and John Williams, 3) the history of Liebermann’s and Williams’ concertos for trumpet, 4) musical analysis of both concertos, 5) a soloist’s practice and performance guide to both works, and 6) a short list of other contemporary trumpet concertos worthy of study. Both Liebermann’s and Williams’ trumpet concertos acknowledge established musical convention, and neither uses any experimental performance techniques. However, both works are written in their own distinctive harmonic language, and each provides its own unique modifications to traditional forms and melodic shapes. Hopefully, this essay will advance the status of Liebermann’s Trumpet Concerto and Williams’ Trumpet Concerto in the history of the trumpet concerto genre and serve as a resource for those who wish to research, study, and perform Liebermann’s Concerto, Williams’ Concerto, or other contemporary trumpet concertos.

The study of excess thermodynamic properties of liquid mixtures is very important for designing the thermal separation processes, developing solution theory models and to have a better understanding of molecular structure and interactions involved in the fluid mixtures. In particular, heat of mixing or excess molar enthalpy data of binary and ternary fluid mixtures have great industrial and theoretical significance. In this connection, the experimental excess molar enthalpies for seventeen binary and nine ternary systems involving hydrocarbons, ethers and alcohol have been measured at 298.15K and atmospheric conditions for a wide range of composition by means of a flow microcalorimeter (LKB 10700-1). The binary experimental excess molar enthalpy values are correlated by means of the Redlich-Kister polynomial equations and the Liebermann - Fried solution theory model. The ternary excess molar enthalpy values are represented by means of the Tsao-Smith equation with an added ternary term and the Liebermann-Fried model was used to predict ternary excess molar enthalpy values. The Liebermann-Fried solution theory model was able to closely represent the experimental excess enthalpy data for most of the binary and ternary systems with reasonable accuracy. The correlated and predicted excess molar enthalpy data for the ternary systems are plotted in Roozeboom diagrams