Thesis (M.A.)--Indiana State University, 1973. / Typescript. Includes bibliographical references (leaves 41-42).

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes embedded audio and video examples. Includes bibliographical references (p. 169-270).

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009. / "A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 30, 2009. Includes performances notes. Online version of the print edition.

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006. / "A thesis in music composition." Includes compact discs. Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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.

Since its early development in the 16th century, chamber music has had an extensive evolution. In recent years as composers have become more experimental concerning instrumentation in chamber music settings, many have began to combine wind instruments with percussion, thus creating a new genre. Even more specific genres have evolved from these happenings in chamber music, such as the duo of a solo wind instrument paired with a mallet percussion instrument. The horn, an important and diverse figure amongst the chamber music literature, has been no exception to this development. There has been an increase in popularity of music for horn and mallet percussion to be performed and recorded, but there has not been an extensive amount of scholarship on the topic. This study will focus exclusively on three works for horn and mallet percussion: HornVibes (1984) by Verne Reynolds, Sonata for Horn and Marimba (1986) by Charles Taylor, and The Call of Boromir (1996) by Daniel McCarthy. These works were selected based on their availability through professional recordings and publishing companies. Coincidentally, the three chosen works for this study were composed for Leslie and Christopher Norton. The purpose of this paper is to provide a performance guide for horn players who are considering these three works for a performance. It contains an introduction that displays the need for the study, a review of the role of the horn in chamber music, an explanation of the events leading up to the study, and methods used to conduct the study. For each individual work, there is a chapter containing a brief biography of the composer, an analysis, and performance preparation suggestions. Musical examples and tables are used in each chapter to aid in explanation. The goal of this performance guide is to provide an introduction to a newer genre of chamber music, and to provide horn players with insight and recommendations in order to properly prepare and perform works for this unique ensemble.

This thesis presents a comparison between two factorization techniques { Probabilistic Latent Component Analysis (PLCA) and Non-Negative Least Squares (NNLSQ) { for the problem of detecting note events played by a vibraphone, using a microphone for sound acquisition in the context of live performance. Ambient noise is reduced by using specifi c dictionary codewords to model the noise. The results of the factorization are analyzed by two causal onset detection algorithms: a rule-based algorithm and a trained machine learning based classi fier. These onset detection algorithms yield decisions on when note events happen. Comparative results are presented, considering a database of vibraphone recordings with di fferent levels of noise, showing the conditions under which the event detection is reliable. / Graduate

Thesis (D. Mus. Arts)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 42-43).

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2006, Sept. 25, 2006, Apr. 16, 2007, and May 13, 2008. Includes bibliographical references (p. 63-66).

Master of Music / Department of Music / Kurt R. Gartner / This is a report intended to assist in educating musicians planning to perform or study any number of the following compositions: Black Sphinx by Leander Kaiser, To the Gods of Rhythm by Nebojsa Jovan Zivkovic, Regresar a Nuestra by Stephanie Sasscer, Wave, How Insensitive, Agua de Beber by A.C. Jobim, Concerto for Vibraphone, movement I by Emmanuel Sejourne, 6 & 8 by Tobias Brostrom, Suomineito by Nebojsa Jovan Zivkovic, and Convergences by Steve Fitch. Each composition has been analyzed in accordance with Jan LaRue’s method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has analyzed essential technical and interpretive performance considerations according to LaRue’s analytical method. LaRue’s method includes analysis of Sound, Harmony, Melody, Rhythm, Growth and Performance.