• Amy Beach: the Victorian woman, the autism spectrum, and compositional style 

    Laemmli, Amy (University of Missouri--Columbia, 2012)
    Celebrated American composer and pianist Amy Marcy Cheney Beach (1867-1944) became the subject of the dedicated interest of a number of scholars during the last decades of the twentieth century, but her idiosyncratic ...
  • Bela Bartok and the Pro-Musica Society: a chronicle of piano recitals in eleven American cities during his 1927-1928 tour 

    Lucas, Sarah M. (University of Missouri--Columbia, 2012)
    An important component of Béla Bartók's 1927-28 transcontinental tour of the United States was a series of eleven lecture-recitals sponsored by the Pro-Musica Society—an international organization founded in 1920 as the ...
  • Concerto for four horns and wind ensemble 

    Griggs, Laura (University of Missouri--Columbia, 2011)
    While a reasonable amount of concert literature exists for French Horn Quartet, the standard repertoire is notably lacking literature that allows the ensemble to express itself within its most common, modern venue: the ...
  • Farewell to shadowlands: for wind ensemble 

    Fonda, Grant (University of Missouri--Columbia, 2012)
    Original composition, “Farewell to Shadowlands.”
  • Garden music 

    Witter, David J. (University of Missouri--Columbia, 2012)
    This piece was written as a thesis for the completion of an M.M. in composition. To write it I conjured several images to help characterize various elements of a garden. The first movement came about as a visualization of ...
  • The impact of Richard Wagner on Werner Herzog's film Nosferatu 

    Chen, Jinsong (University of Missouri--Columbia, 2013)
    The film Nosferatu: Phantom der Nacht [Nosferatu, Phantom of the Night] (1979), known in English-speaking countries as Nosferatu the Vampyre, a retelling of the Dracula legend, demonstrates the artistic affinities of ...
  • The late choral works of Igor Stravinsky: a reception history 

    Elder, Rusty Dale (University of Missouri--Columbia, 2008)
    Despite his preeminence in twentieth-century music, the late works of Igor Stravinsky (1882-1971) remain in relative obscurity: seldom performed, inadequately recorded, poorly understood, and frequently disparaged. The ...
  • The legend of the dried persimmon for symphony orchestra and computer generated sounds 

    Chang, Kyoungsuk (University of Missouri--Columbia, 2011)
    The composition is based on a Korean folk tale. The dried persimmon legend's original name is 'The Tiger and the Dried Persimmon'. The composition consists of two movements, each in a different mood. The two movements have ...
  • The little match girl 

    Blanton, K. Alexander (University of Missouri--Columbia, 2009)
    A tone poem composed for orchestra based upon Hans Christian Andersen's short story of the same title.
  • Mario Bauza: swing era novelty and Afro-Cuban authenticity 

    Miller, Nathan Brad (University of Missouri--Columbia, 2007)
    Introduced to jazz in his native Cuba, Mario Bauzá (1911-1993) immigrated to New York City in 1930 to take part in its active scene as an instrumentalist, and, by enhancing pre-existing musical practices with his arranging ...
  • Mass for chorus, chamber orchestra, and soloists 

    Hampton, Ryan (University of Missouri--Columbia, 2008)
    My primary objective in composing this piece of music was to create a modern musical work based heavily on music of the Renaissance. Representative pieces of music on which I have modeled my work include Byrd's Mass for ...
  • Motive and reflection 

    Berg, Stephanie (University of Missouri--Columbia, 2012)
    Motive and Reflection was originally commissioned by the Sinquefield Charitable Foundation as part of the Sinquefield Prize in composition, which I won in 2009. The resultant work was a one-movement piece for full orchestra. ...
  • Painted upon a Grecian urn for wind ensemble 

    Hills, Joe (University of Missouri--Columbia, 2013)
    Painted Upon A Grecian Urn is a three-movement suite for modified wind ensemble of about fifteen minutes in length in which each movement represents a different legend from Greek mythology. The movements embody Athena, ...
  • Post-common practice era music theory pedagogy 

    Morrow, Melissa (University of Missouri--Columbia, 2012)
    The purpose of my research is to improve the experience of students who are taking the Twentieth-Century Compositional Techniques course at the University of Missouri-Columbia, and similar courses at other institutions. ...
  • The Raven: an opera in one act 

    Krause, Anna C., 1987- (University of Missouri--Columbia, 2011)
    In a dim room, with only a weak fire keeping out the cold December wind, a poor student sits alone, slowly, painfully working himself into a frenzy of grief over the loss of his young wife, Lenore. This is the image in my ...
  • Row construction and accompaniment in Luigi Dallapiccola's Il Prigioniero 

    Waggoner, Dori T. (University of Missouri--Columbia, 2007)
    Italian composer Luigi Dallapiccola (1904-75) invested his art with personal responses to dire social injustices. Because of the dangers surrounding any attempt to protest the repression of individual freedom, hate crimes, ...
  • Sifting through ashes 

    Strausbaugh, Michael (University of Missouri--Columbia, 2013)
    A varied and elaborated form of a simple theme serves as basis for the refrain material in a seven-part rondo. Via additive process, the initial motive is revealed, recognizable yet harmonically distant. While purely melodic ...
  • Songs from the Golden Gate 

    Strobel, Robert (University of Missouri--Columbia, 2014)
  • The three Americas 

    Mascarenhas, João Marcos Gomes (University of Missouri--Columbia, 2006)
    This instrumental piece is the result of my attempt to mix principles of modern fine art composition techniques with melodies, rhythms, and harmonies, originated from the popular music of the three Americas. From South ...
  • Three songs for unaccompanied choir 

    Woodward, Mark E., 1982- (University of Missouri--Columbia, 2009)
    Using Maurice Ravel's Trois Chansons as a point of departure, this composition explores the possibilities of motivic, harmonic, and rhythmic development from a shared opening phrase. As a result of this free exploration, ...