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, [restricted access] is necessary, you may deposit the thesis at http://digitalcommons.unl.edu/embargotheses/ — but only after getting 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 < proyster@unl.edu > 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.
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
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