1) it is optional, not required (the ProQuest deposit is required); and
2) it will be available to everyone on the Internet; there is no embargo for dissertations in the UNL DigitalCommons.
Master's candidates: Deposit of your thesis or project is required. If an embargo is necessary, you may deposit the thesis at http://digitalcommons.unl.edu/embargotheses/ with the prior approval of your department and the Graduate Office (contact Terri Eastin).
All depositors: We try to observe a 24-hour "cooling off" period to give you opportunity to correct those "oops" issues that seem to emerge just after deposit.
Upon deposit, you will immediately receive an email that your submission has been received (and this is what you need to show the Graduate Office).
However, you can still log back in and select Revise and upload a new version with your advisor's name spelled right, or your mother thanked in the Acknowledgments, or whatever you're stressing about.
After about a day, your submission will be "published" or "posted", making it available to the Internet; you will get another email to that effect, and your submission can no longer be changed--by you.
If further changes are needed, these can be made by sending a revised file to the administrator < firstname.lastname@example.org > requesting replacement of the current online version. DO NOT RESUBMIT YOUR THESIS / DISSERTATION. That creates duplicate records, confusion, wasted effort, frustration, sadness, tears, and causes kittens to get sick.
Finally: Congratulations; you are almost there. Click the "Submit your paper or article" link at the bottom of the gray box at left. Follow the instructions. You should be able to copy (Ctrl-C) and paste (Ctrl-V) most fields.
You are the sole author; your advisor is not considered a co-author.
Your institution is "University of Nebraska-Lincoln" (not "at Lincoln" or ", Lincoln"). Do not leave it blank; then the administrator has to fill it in, and he is tempted to make it something silly.
You do not need to repeat your name and title in the Abstract field; just the body of the abstract.
When you reach the question "Was this submission previously published in a journal?", just skip that part.
Be sure to click the "Submit" button at the bottom. Files upload at the rate of about 5 Mb per minute, so if you have an ungodly large file, it may take a bit of time. If your file exceeds 40 Mb, think about reducing its size--there are many ways; Google "reduce pdf file size" to find some.
Okay, get started. That thesis is not going to submit itself.
On This Journey: Suite for Big Band and Five Voices, Kara L. Baxter
Einstein on the Beach: A Global Analysis, Chelsea M. Coventry
Yrjö Kilpinen's Kanteletar-lauluja, Opus 100: A Performance Guide, Lisa Marie Howell
Suite for Kabbalat Shabbat: Five Hebrew Prayers, Steven J. Kaup
Воспоминания (Acts of Remembrance): For violin, cello and piano, Marat E. Sanatullov
Tracing the Development of Vivaldi's "L' Estro Armonico" Concerto No.8 in A Minor through J.S. Bach and Samuil Feinberg's Keyboard Transcriptions: Exploring the Possibilities of a Modern Authentic Performance, Andreas Xenopoulos
THE IDENTIFICATION OF FACTORS CONTRIBUTING TO FIRST-YEAR COLLEGE STUDENTS’ MINDSET OF SINGING ABILITY, AND THE RELATIONSHIP OF THAT MINDSET TO INTENT TO PARTICIPATE IN SINGING ACTIVITIES, Susan Cogdill
Violin Concerto #1, Matthew J. Holman
Symphony No. 1 for Double Wind Orchestra, Amanda McCullough
Song of the Wind, Aaron B. Bittman
A Little Rumba Numba: Latin American Music in Musical Theatre, John David Cockerill
Symphony in Three Marches, Nels D. Daily
Performing Editions of the Handel Cantatas HWV 81, 105, and 113 for Soprano, Obbligato Instruments, and Continuo, or Piano Reduction, with Accompanying Notes, Phonetic Pronunciations, and Translations, Elizabeth N. Deutmeyer
Germaine Tailleferre's Film Score To Les Grandes Personnes, Jenna E. Moghadam
Voice Recitals at the UNL School of Music: Compilation study, Audrey M. Nicholson
Possibilities for Tuba Quartet/Ensemble and Percussion, Anthony J. Burnham
A Comparison of Viola Strings with Harmonic Frequency Analysis, Jonathan Paul Crosmer
Understanding Professional Growth Opportunities Utilized by Nebraska Music Educators, Phillip K. Hesterman
Helen: An opera in one act, Garrett Hope
Cognitive Processes for Infering Tonic, Steven J. Kaup
The WDR Big Band: A Brief History, Gabriela A. Richmond
High Water Mark: Suite for Jazz Octet, David von Kampen
The Contribution of Twentieth Century African American Composers to the Solo Trumpet Repertoire: A Discussion and Analysis of Selected works by: Ulysses S. Kay, Adolphus C. Hailstork, Regina Harris Baiocchi, and Charles Lloyd, Jr., Orrin M. Wilson
Three Works For Flute By Ian Clarke: An Analysis And Performance Guide, Shelly L. Monier
A Metrical Analysis and Rebarring of Paul Creston's Sonata for Alto Saxophone and Piano, Op. 19, Christopher Kyle Sweitzer
Missa prolationem, Kurt Knecht
Gustav Jenner’s Clarinet Sonata in G Major, opus 5: An Analysis and Performance Guide with Stylistic Comparison to the Clarinet Sonatas, opus 120 of His Teacher, Johannes Brahms, Elizabeth R. Aleksander
ROBERTO SIERRA’S COMPOSITIONS FOR SOLO CLARINET, Alejandro L. Lozada
Performance Practices in Four Puccini Arias: Tempo Choices and Choosers, Joshua O. Neumann
SEPTETS, OCTETS, NONETS: ROMANTIC CHAMBER MUSIC IN ITS CULTURAL CONTEXTS, Andrew L. de Alvaré
Visions Fugitives: Insights into Prokofiev's Compositional Vision, Steven Edward Moellering
Bach-Busoni Chaconne: A Piano Transcription Analysis, Marina Fabrikant
Théodore Nisard’s Accompagnement du Plain-Chant from Dictionnaire Liturgique, Historique et Théorique de Plain-Chant et de Musique d’Église Au Moyen Age dans les Temps Modernes (1854): An English Translation, Gerald W. Holbrook
MARK ADAMO: THE SOLO VOCAL WORKS THROUGH 2006, Scott D. Miller