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Your email address will not be published or shared.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.
2015
Scalar and Collectional Relationships in Shostakovich's Fugues, Op. 87, Sarah Mahnken
TRACING JOSEF SUK’S STYLISTIC DEVELOPMENT IN HIS PIANO WORKS: A COMPOSER’S PERSONAL JOURNEY FROM ROMANTICISM TO CZECH MODERNISM, Jana K. Manning
WERNER JAEGERHUBER’S MESSE SUR LES AIRS VODOUESQUES OR MESSE FOLKLORIQUE HAÏTIENNE: A PERFORMANCE EDITION, Canes Nicolas
Virtuoso Violinist Maud Powell: Enduring Champion for American Women in Professional Music, Sarah Joy Pizzichemi
The Double Bass as a Solo Voice in Flamenco Music, Jeffery M. Utter
Hungarian Suite for Jazz Chamber Ensemble, Christopher Paul Varga
Love's Austere and Lonely Offices: An Analysis of Tom Cipullo's America 1968, Joshua Zink
2014
Student and Teacher Experiences with Informal Learning in a School Music Classroom: An Action Research Study, Mark C. Adams
On This Journey: Suite for Big Band and Five Voices, Kara L. Baxter
Einstein on the Beach: A Global Analysis, Chelsea M. Coventry
The Flute and Piano Works of Sigfrid Karg-Elert: An Analytical and Contextual Study, Stephanie DiMauro
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
Music Class Offerings Beyond Bands, Choirs, and Orchestras in Nebraska High Schools, David N. Sanderson
2013
A Chant from the Great Plains: An Analysis and Rationale for a Critical Edition, Raul G. Barcenes
Violin Concerto #1, Matthew J. Holman
ZHAO XIAO-SHENG’S TAI CHI REFLECTION: His Innovative Tai Chi Compositional System and its Execution in Tai Chi for Solo Piano, Feifei Jiang
The Pedagogical Legacy of Vicente Scaramuzza: The Relationship Between Anatomy of the Hand, Tone Production, and Musical Goals, Marcelo G. Lian
Orchestral Tuba Audition Preparation: The Perspective of Three Successful Teachers, Golden A. Lund
Symphony No. 1 for Double Wind Orchestra, Amanda McCullough
Sing Solo Pirate: Songs in the Key of Arrr! A Literature Guide for the Singer and Vocal Pedagogue, Michael S. Tully
THE CHORAL MUSIC OF JAMES E. FRITSCHEL WITH A CONDUCTOR'S SPECIAL FOCUS ON THE PREPARATION OF HIS POLYCHORAL COMPOSITIONS, Jennifer Vanderholm
Revising Music Theory Curricula in Response to Varied Student Backgrounds: A Survey, Anna Barbara Vezza
ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU, Cristina Vlad
2012
Song of the Wind, Aaron B. Bittman
A Little Rumba Numba: Latin American Music in Musical Theatre, John David Cockerill
A SURVEY OF THE SACRED CHORAL-ORCHESTRAL WORKS OF SIR HENRY WALFORD DAVIES (1869-1941), Martin C. Cook
The Choral Music of Allen Henry Koepke (1939-2012) with a Conductor's Special Focus on the Preparation of His Seminal Work, Missa Brevis, Keith J. Curington
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
MAKIKO KINOSHITA AND HER 9 PRELUDES FOR PIANO: THE AMALGAM OF AMERICAN JAZZ AND EUROPEAN TRADITION, Mai Nagatomo
The Impact of Vowels on Pitch Finding and Intonation in the Movable-Do Solmization System, Thomas Neuerburg
Voice Recitals at the UNL School of Music: Compilation study, Audrey M. Nicholson
2011
Healthy Performance Practice for Male Barbershop Singers, Jacob K. Bartlett
Possibilities for Tuba Quartet/Ensemble and Percussion, Anthony J. Burnham
Tango from a Historical and Social Perspective: A Performer’s Supplement to The Tango Fake Book by Mark Wyman, Sarah L. Cosano
A Comparison of Viola Strings with Harmonic Frequency Analysis, Jonathan Paul Crosmer
Understanding Professional Growth Opportunities Utilized by Nebraska Music Educators, Phillip K. Hesterman
The Status of Students with Special Needs in the Instrumental Musical Ensemble and the Effect of Selected Educator and Institutional Variables on Rates of Inclusion, Edward C. Hoffman III
Helen: An opera in one act, Garrett Hope
Cognitive Processes for Infering Tonic, Steven J. Kaup
David Maslanka's Desert Roads, Four Songs for Clarinet and Wind Ensemble: An Analysis and Performer's Guide, Joshua R. Mietz
A Study of K-12 Music Educators' Attitudes Toward Technology-assisted Assessment Tools, Lance D. Nielsen
The WDR Big Band: A Brief History, Gabriela A. Richmond
Beginning Conducting Curricula: Building Course Objectives upon the Foundations of Aural Image and Natural Body Movement, Tobin E. Stewart
An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Second Update, Clifford Towner
High Water Mark: Suite for Jazz Octet, David von Kampen
Randall Thompson's Requiem: A Text Setting Analysis and Recommendations for Performance, Zachary J. Vreeman
2010
A Salience-Based Analytic Method Applied to André Jolivet’s Concertino for Trumpet, String Orchestra, and Piano , Martin G. Bolt
A PERFORMER’S GUIDE TO THE ORIGINAL WORKS FOR SOLO HORN, HORN AND PIANO, TWO HORNS, AND TWO HORNS AND PIANO BY PAUL BASLER, Nicholas A. Kenney
Three Works For Flute By Ian Clarke: An Analysis And Performance Guide, Shelly L. Monier
THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS, Javier A. Montilla
Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance, Denis V. Plutalov
Takemitsu and the Influence of "Cage Shock": Transforming the Japanese Ideology into Music, Mikiko Sakamoto
A Metrical Analysis and Rebarring of Paul Creston's Sonata for Alto Saxophone and Piano, Op. 19, Christopher Kyle Sweitzer
The Sacred Choral Music of Seth Daniels Bingham (1882-1972), with special focus on "The Canticle of the Sun" Op. 52, James E. Wilson
INNOVATION AND TRADITION IN LISAN WANG’S PIANO SUITE OTHER HILL, Rongjie Xu
2009
THE CONTRIBUTIONS OF AXEL JØRGENSEN TO THE SOLO TROMBONE REPERTOIRE OF DENMARK IN THE TWENTIETH CENTURY, Andrew H. Converse
Missa prolationem, Kurt Knecht
Understanding Folk Dance and Gypsy Style in Selected Pieces for Clarinet and Piano by 20th Century Hungarian Composers: An Interpretive Guide, Jessica Vansteenburg
The Romantic Heritage: Dohnanyi's Compositional Language in His Six Concert Etudes, Op. 28, Michael A. Yenny
2008
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
Soliloquies and Dances: An Analytical Introduction to the Solo Saxophone Repertoire of American Composer Elliot Del Borgo, Christopher Barrick
The History of Choral Music Activity at the University of Nebraska-Lincoln 1885 – 1978, Rebecca C. Gruber
ROBERTO SIERRA’S COMPOSITIONS FOR SOLO CLARINET, Alejandro L. Lozada
Performance Practices in Four Puccini Arias: Tempo Choices and Choosers, Joshua O. Neumann
Fields of Wonder: Exploring the Langston Hughes Song Cycles of Robert Owens, Jamie Reimer
2007
MAX REGER’S TELEMANN VARIATIONS, OP.134: ANALYSIS AND CRITICAL EVALUATION OF EDITIONS, INCLUDING AN EXAMINATION OF REGER’S PERFORMANCE STYLE BASED ON CONCERT REVIEWS, christian peter bohnenstengel
SEPTETS, OCTETS, NONETS: ROMANTIC CHAMBER MUSIC IN ITS CULTURAL CONTEXTS, Andrew L. de Alvaré
An Analysis for Performance of Selected Unaccompanied Works for Trumpet by Robert Henderson, Hans Werner Henze and Verne Reynolds, Brendan McGlynn
Visions Fugitives: Insights into Prokofiev's Compositional Vision, Steven Edward Moellering
2006
The Evolution of Sonata Form in the Wind Music of W.A. Mozart, Brian Alber
Music at the Fair! The Trans- Mississippi and International Exposition. An Interactive Website, Grace Carey
Bach-Busoni Chaconne: A Piano Transcription Analysis, Marina Fabrikant
Performance Practice Issues in the Short Solo Works of Serge Koussevitzky, Maurice Kelley
MARK ADAMO: THE SOLO VOCAL WORKS THROUGH 2006, Scott D. Miller
A MANIFESTATION OF APOLLONIAN ECUMENISM IN SELECTED PIANO WORKS OF ALEXANDER TCHEREPNIN (1899-1977), Svetlana Yashirin
2003
A Sound Theology: The Vital Position of Sound and Music to Hildegard of Bingen's Theology and Public Identity, Geraldine E. Henderson