Thesis (Ed.D.)--Teachers College, Columbia University, 1964. / Typescript; issued also on microfilm. Sponsor: Harry Wilson. Dissertation Committee: Charles Walton. "Die schöne Müllerin," by Franz Schubert: 53 p. at end. Includes bibliographical references (leaves 75-78).

Thesis (M. Phil.)--University of Hong Kong, 1992. / Includes bibliographical references (p. 83-85).

Thesis (Ph. D.)--Brandeis University, 1988. / Score has title-page with title: Sonata, viola and piano (1982) / Lawrence Siegel. "Footnotes": leaf 59.

Thesis (Ph. D.)--University of Chicago, Department of Music, December 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1957. / Typescript. Abstracted in Dissertation abstracts, v. 17 (1957) no. 11, p. 2617. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 141-144).

We compute the RO(C2)-graded Bredon cohomology of certain families of real and complex C2-equivariant Grassmannians.

The purpose of this project is to help bridge the gap of available solos for the novice bass tuba player. It is necessary for the growing tuba player to transition to the bass tuba for solos at the professional level, but the majority of pieces that are written for the bass tuba are at the professional level, and it leaves very little for the transitional phase from a repertoire standpoint. Through transcribing vocal works, an aspiring bass tuba soloist can focus on fundamental aspects of tuba playing like tone quality, breathing, intonation, and musicianship. Generally speaking, tuba solos are written for the contrabass tuba and accessible to late high school and early college musicians, or they are written at the professional level for bass tuba. There is a gap in the repertoire for the solo tuba, pieces that can help transition young students to the later repertoire demands of the bass tuba. This project will address the need for more novice solo works accessible to the young collegiate tubists transitioning to the bass tuba by identifying current deficiencies in the repertoire available for the developing solo tubist. This project concludes with a transcription and performance edition of Franz Schubert's Op. 59, Nos. 1-4: No. 1, Du liebst mich nicht; No. 2, Dass sie hier gewesen; No. 3, Du bist die Ruh'; and No. 4, Lachen und Weinen.

No description available.

The arrangement of movements in the Grand Sonata in B flat follows traditional classical lines, as is true of almost all the Schubert sonatas. A complete structural analysis of the work reveals some modifications in the architecture of individual movements; this is especially evident in the first movement. The departures from usual treatment of first movement sonata form may be classified as follows: 1. Developmental procedures begin in the exposition. 2. The second subject begins in a distantly related key. 3. The development section stresses melodic treatment rather than contrapuntal technique. The second movement is in ternary form and exhibits little irregularity in structure. The movement is an excellent example of the employment of an accompaniment figure as a unifying element.

The significance of a complete analysis of Schubert's orchestral larger works is self-evident to musicians and scholars. In the literature today one may find adequate analysis of many of the larger choral and orchestral works of the various masters, but rarely is it possible for one to secure a scholarly and intelligent analysis and interpretation of the smaller forms, especially the vocal works. Perhaps the reason for this state is the lack of interest in many of the aspects and phases of song literature as vocalists and teachers have probably been more concerned with the artistic rendition of the songs rather than an academic approach. But with the turn of the present decade, a decided interest has become apparent in musicological scholarship and the present study is but one evidence of the trend toward critical and academic analysis of smaller forms heretofore omitted in music literature.