Thesis (Ph. D.--Music)--University of California, San Diego, 1998. / Vita. For 2 percussion soloists, 4 auxiliary percussionists, 3 bass clarinets, 3 trombones (2 tenor, 1 bass), tuba, and digital audio tape.

Thesis (M.M.)--University of North Texas, 2001. / For flutist (flute, alto flute, piccolo and bass flute) and percussionist performing vibraphone, xylophone, woodblock, glockenspiel and marimba. Includes analysis by composer (p. i-xxxiii). Score includes performance notes. Includes bibliographical references (p. xxxiii).

Thesis (D.M.A.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 1, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 125-129.

Thesis (D. Mus. Arts)--University of Washington, 1999.

Thesis (Ph. D.--Music)--University of California, San Diego, 1997. / Vita. For percussion solo with 2 flutes, 2 clarinets, trumpet, 2 trombones, 2 violins, viola, violoncello, double bass, and jazz rhythm section (piano, double bass, and drums). Videotape is sound only in Beta format.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 115-117).

Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 83-87).

The purpose of this study is to determine if participation in percussion ensemble has a distinct value as compared to participation in larger ensembles, and whether it promotes a specific form of percussion education not available to members participating in larger ensembles. People who participated in or who are currently instructional leaders, coaches, or conductors of collegiate percussion ensembles were contacted to better understand how experiences in the percussion ensemble influenced their approach to teaching percussion once they entered the teaching field. Research conducted for this study included interviews with preservice, inservice, and university percussion professors. Findings suggest that participation in a collegiate percussion ensemble is beneficial for percussion education and for teachers in the field. Students who participate in collegiate percussion ensembles have the opportunity to get a more specialized percussion education, from which they gain better quality skills in basic musicianship, score study, repertoire selection, and percussion performance than they would have simply preforming in a larger ensemble. In addition, students who participate in a collegiate percussion ensemble reported that it provided a greater sense of self-worth and a camaraderie with fellow percussionists that was not available in large ensemble performance.

No description available.

This dissertation and accompanying lecture recital explore the unique textural features in the works of Steven Mackey as exhibited in See Ya Thursday (1993).A rigorous formal, harmonic, and motivic analysis will highlight the compositional characteristics of textural structure and aural perspective that exist in the work. Illumination of these compositional elements can help to identify and minimize the technical complexities that exist within this piece for the performer. In addition, this document provides brief biographical information on Steven Mackey and his works, and on See Ya Thursday as it relates to other pieces in the advanced marimba literature. Finally, it is the aim of the author to add a resource to the relatively limited amount of research on Steven Mackey with this analysis of See Ya Thursday.