Music, School of
Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performance
1. it is optional, not required (the ProQuest deposit is required); and
2. it will be available to everyone online; there is no embargo for dissertations in the UNL Digital Commons.
Master's candidates: Deposit of your thesis or project is required. (If an embargo [restricted access] is necessary, you may deposit it at http://digitalcommons.unl.edu/embargotheses/ only after getting approval from your department and the Graduate Office; contact Terri Eastin).
TO DEPOSIT YOUR DISSERTATION, THESIS, CREATIVE WORK, OR PERFORMANCE
1. Create or log in to your Digital Commons account
To create an account: click on My Account at https://digitalcommons.unl.edu then Sign up.
Fill in your names, email address, create a password, and click on Create Account.
Reply to the confirming email from the system, if you get one (check your spam folder).
Your email address will not be published or shared.
2. Instructions for deposit
Click the Submit your paper or article link at the bottom of the gray box at left.
You should be able to copy (Ctrl-C) and paste (Ctrl-V) most fields.
TITLE: Fill it in using title case (that is, capitals for the first letter of all words except articles and prepositions).
AUTHOR: In each respective box, enter your names (and/or initials) as they appear on the title page of your dissertation or thesis. You are the sole author; your advisor is not considered a co-author. Institution is University of Nebraska-Lincoln (not "at Lincoln" or ", Lincoln"). Do not leave this field blank.
FIRST ADVISOR: Enter your advisor’s name. Add a second and third, if needed (advisors only, not committee members).
DATE OF THIS VERSION: Month and Year only.
CITATION: Copy and paste the rest of whatever appears on the title page of your work. It usually starts with something like “A THESIS Presented to the Faculty …” and ends with “Lincoln, Nebraska [month] [year].”
ABSTRACT: Just include the body of the abstract, not the title or your name, but DO add your advisor’s name at the end of the abstract after the word Advisor and a colon, like this: Advisor: ….
Skip the ORCID IDs, Keywords, Disciplines, and Comments fields, and DO NOT check a bubble for the Publication Status field.
Click UPLOAD FILE FROM YOUR COMPUTER. Select the file of your work from your device (should be in Portable Document Format, PDF).
Click the SUBMIT button at the bottom.
YOU DID IT! Your work is submitted!
CONGRATULATIONS on reaching this amazing milestone in your academic career!
3. After your initial deposit
Upon deposit, you will receive an email that your submission has been received; you need to show the Graduate Office this message.
Before we complete your upload, we usually wait a day or two to give you an opportunity to correct those oops issues that seem to emerge just after deposit. Before it’s been posted, you can still log back in and select Revise and upload a new version so you can upload a version with your advisor's name spelled right or whatever else needs to be fixed.
It is important that you DO NOT resubmit another file after it’s been posted online. This causes lots of problems.
But have no fear: If further changes are needed after it’s been posted, you can send a revised file to the series administrator (Sue Gardner) requesting to replace it.
2024
Project: Gogi, Joshua Allen Joseph Aguiar
Preparing the Next Generation of Music Teachers: Illuminating Motivations of Nebraska Preservice Teacher Mentors, Emily Marie Chapman
An Unnecessary Barrier: A Critical History of Efforts to Define a Core Repertoire for the Wind Band, Trevor Frost
Making Czech Art Song Accessible for Novice Singers, Rachel Jane Sweeney Green
An Annotated Bibliography of 45 Select 21st-Century Electroacoustic Pieces for B-Flat Clarinet Suitable for the Undergraduate Clarinetist, Emily Jean Rose
Leavers and Movers: Turnover of Music Teachers in Nebraska, Christian G. Schuerman
Sun, Thunder, Daugava: Accessible Choral Music from the Latvian Choral Tradition, Paul von Kampen
Native American Choral Music: Strategies for Celebrating and Incorporating Music of Indigenous People, Mary Ruth Young
2023
Music of the Divine: Interweaving Threads Connecting Contemporary Chant-Based Piano Repertoire, Jeremy D. Duck
Music of the Divine: Interweaving Threads Connecting Contemporary Chant-Based Piano Repertoire, Jeremy DeWayne Duck
Make War to Make Peace: Themes of War in Trombone Solo Literature, Ian Rutherford
New Paradigms in Band Performance: An Analysis of Three Prototypes, Scott Walker-Parker
Blurred Lines: An Analysis of Karel Husa's Music for Prague, 1968 Using Fuzzy Serialism, Sydney Wilson
2022
Perceptual and Conceptual Structures in Thea Musgrave's Green, Isabel Bohrer
Esther's Rise, John David Cope
Teaching Music Theory Through COVID-19, Donna Deloy
The Bleached Bones of a Story, Coral Douglas
A Comparison of Nebraska Urban, Rural, and Reservation Schools' Readiness to Achieve Nebraska State Music Standards, Amber E. Knight
Metal-ish: An Analysis of Heavy Metal and Jazz Fusion by Guitarist Adam Rogers, Malachi A. Million
The Romantic Style in the Piano Works of Manuel M. Ponce, Oscar Vazquez Medrano
Rediscovering Argentine Repertoire Written in the 1930s: A Performative Study of Concert Piano Works by Lita Spena and Celia Torrá, Florencia Zuloaga
2021
Exploring the Eclectic Piano Works of Mathew Fuerst, Seung Kyung Baek
Student Engagement in Higher Music Education with Online Learning Components: A Mixed Methods Case Study, Xinwei Liu
MOZART'S OPERAS FOR HARMONIE: THREE CONTEMPORARY ARRANGEMENTS COMPARED, Jacob R. Ludwig
THE GAMBLER’S SON: A PERFORMANCE COMPANION GUIDE OF DR. TYLER GOODRICH WHITE’S OPERA, Patrick McNally
Stories Retold: Exploring Real-Life Stories through an Analysis of William Vollinger's Art Songs for Lyric Soprano and Piano, Katie Mersch
A CONTEMPORARY ADAPTATION OF AMERICA’S MUSICAL HERITAGE: THE AMERICAN FOLK SET BY STEVEN MARK KOHN, Trey Meyer
"Old Wine, New Bottles:" The Impact of Schoenberg's Verein on the Arrangement Practice of Mahler's Symphony No. 4 (Movement I), Rebecca Nederhiser
A PERFORMER’S GUIDE TO THE UNACCOMPANIED HORN, SOLO HORN AND FIXED MEDIA, AND HORN AND PIANO WORKS OF JAMES NAIGUS, Jordan Redd
When Did You Stop Singing?: Elementary Boys' Attitudes and Self-Efficacy Toward the Act of Singing, Eric D. Wyler
Chasing Expression: Tracing Notated and Performative Devices that Create a Bel Canto Style at the Piano, Paul Zeller
2020
Chamber Symphony in E-Flat-Major — "In the Old Style", Zachary Paul Buechner
INVENTION THROUGH THE HARMONICS OF STEFANO SCODANIBBIO: A METHOD OF CREATIVE IMPROVISATION FOR THE CONTEMPORARY DOUBLE BASSIST, Christian Chesanek
Diagnostic and Statistical Manual of Mental Disorders: A Musical Adaptation, Krista Connelly
At the End of the Dock, Christina D. Ensign
THEMATIC DEVELOPMENT IN JOHN POWELL’S SCORE FOR HOW TO TRAIN YOUR DRAGON (2010), Denise E. Finnegan
Critical Edition and Interpretative Analysis of Música para Orquesta de Vientos y Percusión Op. 152 by Blas Emilio Atehortúa., Rubén Darío Gómez
A Musical Analysis of the Improvisational Bebop Style of Nat Adderley (1955-1964), Kyle Granville
In Time Gone By: Song Cycle for Baritone and Six Players, Bryan Grosbach
Transcendentalist Sympathies: A Contextual Study of The Wound-Dresser, Jared Hiscock
We Met at the Edge, Eric M. Howell
THE SYNTHESIS OF JAZZ AND CHINESE FOLK SONGS AS A MODEL FOR JAZZ PEDAGOGY IN CHINA, Runkun Li
The Brass Music of Gwyneth Walker: An Overview, Kevin Madden
A Performer’s Guide to and Analysis of David Heath’s Out of the Cool, Rumania, and Coltrane, Lindsey O'Connor
Concertante for Sho and Jazz Orchestra, Susumu Watanabe
Effects of The Met: Live in HD on the Democratization of Opera in America, Anna Wigtil
2019
FROM IMPROVISATION TO ARTISTRY: A STUDY OF THE PIANO’S 12 SIDES BY CARTER PANN, Louis Claussen
Transcribing Astor Piazzolla's Works to Maximize Stylistic Fidelity: An Examination of Three Saxophone Quartets with a New Transcription, Sarah L. Cosano
"Choir Might Actually Save Your Life": A Convergent Mixed Methods Study on Adolescents' Attitudes and Perceptions of Singing and Middle Level Vocal Music, Marci M. Malone DeAmbrose
THE SINGING CONDUCTOR: INTERVIEWS ON THE BENEFITS AND LIMITATIONS OF CHORAL CONDUCTORS AND TEACHERS CONTINUING TO SING, Anne Carissa Gassmann
The Impact of Training Aids on Aerodynamic and Acoustic Measures in Singing, Julie Kaldor Grives
ORIGINAL MUSIC FOR BASS TROMBONE AND PIANO FROM 1985 TO 2018: AN ANNOTATED BIBLIOGRAPHY, Brian Lew
String Quartet No.1 in G Major, Wataru Niimori
Anecdoche, Joshua Ryan Spaulding
A PERFORMER'S ANALYSIS OF THE COMPOSITIONAL APPROACHES IN SHORT STORIES FOR SAXOPHONE QUARTET BY JENNIFER HIGDON, Nicholas J. Stow
Crossing the Line: The Life and Musical Legacy of Friedrich Gulda Through a Study of Play Piano Play, William Travis Worsham
2018
The Cask of Amontillado, Elysia Arntzen
Harmonic, Tonal, and Formal Asynchrony in Robert Schumann's Frauenliebe und Leben, Kelli E. Bomberger
Art Lande and the Music of Funko Moderno, Mitchell Dunham
Midwestern Portrait for Chamber Jazz Ensemble and Solo Tenor Saxophone, Andrew Janak
8Scenes, Spencer G. Perkins
A Musical Analysis and Performance Guide to Alejandro Viñao's Burritt Variations for Solo Marimba, Michael Gordon Roe
String Quintet No. 2, Johnny Smith-Wilson
State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy, Tamara Tanner
SOLO PIANO WORKS BY KE-CHIA CHEN: “TO AN ISOLATED ISLAND” AND “TREASURE BOX”, Stephanie Yu
2017
The Influence of Jazz Elements in Don Freund's Sky Scrapings for Alto Saxophone and Piano, Wade Howles
Requiem, Jacob K. Lee
A Musical Analysis of the Improvisational Style of Tommy Turrentine, Jesse N. McBee
The Transmutation of the Immutable Abyss, Amanda McCullough
A Study of the Performance Requirements Found in the Sonata for Solo Violin Op 40 by Miklós Rózsa, James Moat
THE WAR NEVER ENDS A COMPOSITION FOR LARGE JAZZ ENSEMBLE IN THREE MOVEMENTS, Derek James Molacek
"Choir is for Girls": Intersectional Mixed Methods Perspectives on Adolescent Gender Identity, Singing Interest, and Choral Music Participation, Briana E. Nannen
Three Flute Chamber Works by Alberto Ginastera: Intertwining Elements of Art and Folk Music, Breta L. Neel
The Iconic One-Hit Wonder: The History and Reception of Franz Biebl's Ave Maria, Matthew Oltman
ORIGINAL CLARINET QUARTET WORKS OF MIKE CURTIS AND JOSH SPAULDING: AN ANALYSIS AND PERFORMANCE GUIDE, Jennifer Reeves
Tonal Procedures in Lowell Liebermann's Concerto for Piccolo and Orchestra, Kathryn Laura Rice
2016
Uncanny Conversations: Depictions of the Supernatural in Dialogue Lieder of the Nineteenth Century, Delane J. Boyd
AN INTRODUCTION TO SERBIAN PIANO MUSIC: MUSICAL AND CULTURAL INFLUENCES ON THREE SELECTED COMPOSERS, Jelena Djukic
LeRoi Moore: A Biography, Bob Fuson II
Echoes of the Past: Stylistic and Compositional Influences in the Music of Sergei Bortkiewicz, Jeremiah A. Johnson
Symphony No. 2: Sights in Sound, Robert J. Luebbert
A Study of the Improvisational Style of Theodore "Fats" Navarro, 1949-1950, Russell C. Zimmer
2015
The Evolution of the Cello Endpin and Its Effect on Technique and Repertoire, William Braun
Exploring Teachers’ Perspectives of Cooperative Learning to Create Music in Orff Schulwerk Classrooms, Nicole A. Chapman
Guy Woolfenden: A Composer's Musical DNA, James A. Dreiling
An Exploration of the Use of and the Attitudes Toward Technology in First-Year Instrumental Music, Ashley D. Gilbert
A Performance Guide for the Unaccompanied Cello Compositions by Mieczyslaw Weinberg, Elizabeth A. Grunin
Suite For The Forgotten, Masayoshi Ishikawa
The Pedagogical Applications of Associating Color with Music in Entry Level Undergraduate Aural Skills, Chris Keelan
A Performance Guide and Comparison of Three Works for Flute and Piano by David Maslanka: Duo, Songs of My Nights, and "...and I am a child before there are words...", Christa K. Krause
An Underestimated Master: A Critical Analysis of Carl Czerny's Eleven Piano Sonatas and his Contribution to the Genre, Levi Keith Larson
of seasons have I sung, Charlie Leftridge