| 895 |
Bridget Knowles, The piano concertos of J.B. Cramer with editions of Concerto no.1 op.10 and Concerto No.6 op.51 (MA, University College Cork, 1993) |
Tue, 03/05/2016 - 10:10 |
| 827 |
Bridget Knowles, An Investigation of Tessitura and Affect in Handel’s Operatic Contralto Roles (MA, Cork Institute of Technology, School of Music), in progress |
Tue, 03/05/2016 - 10:10 |
| 826 |
Francis Ward, Processes of Transmission in Irish Traditional Music: Apporaching a Virtual Orality (PhD, University of Limerick, 2016) |
Wed, 20/04/2016 - 12:33 |
| 825 |
Mark Bollard, Process and Transformation: Creative Applications of Digital Exemplars in the Music of Aloys Fleischmann (1910–1992) (MA, Dundalk Institute of… |
Tue, 29/12/2015 - 15:27 |
| 823 |
Aine Mangaoang, Dangerous Mediations: YouTube, Pop Music and Power in a Philippine Prison Video (PhD, University of Liverpool, 2014) |
Tue, 20/01/2015 - 22:50 |
| 893 |
Gwen Moore, Exploring the Relevance of Multicultural Music Education to Contemporary Irish Society with Particular Reference to the Experiences and Attitude… |
Tue, 13/01/2015 - 11:30 |
| 822 |
Gwen Moore, Ideology, Musical Value and Unequal Opportunity: Backgrounds, Assumptions and Experiences of Students and Lecturers in Irish Higher Education (PhD, Univer… |
Tue, 13/01/2015 - 11:30 |
| 821 |
Kenneth McDonald, The final frontier. Time and space: a drummer's perspective (Other, Dublin Institute of Technology, 2012) |
Wed, 07/01/2015 - 11:20 |
| 820 |
Caoimhe Kearins, Mouth Music in Traditional Irish Music: An exploration of the art form of Lilting from the perspective of performers (Other, Dublin Institute of Tech… |
Wed, 07/01/2015 - 11:11 |
| 819 |
John Blake, The Role of the Recording Studio in Irish Traditional Music (Other, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 21:21 |
| 818 |
Catrina Scullion, Expressionism and psychological disintegration in Schoenberg's 'Erwartung' (Other, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 21:01 |
| 817 |
Julian Pusca, The Pan Flute: Origins, Instruments and Repertoire (Other, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 20:54 |
| 816 |
Michael Barkley, Miles Davis and the transition from bebop to cool jazz: A historic and stylistic examination (Other, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 20:43 |
| 815 |
Joan Shields, 'Deep Song': Singing from the Margins. Billie Holiday's Style and its Location within Jazz (Other, Dublin Institute of Technology, 2013)… |
Mon, 05/01/2015 - 20:29 |
| 814 |
Robert Linehan, The Songs of Frank Bridge: Striking at the Roots of Tonality (Other, Queen’s University Belfast, 2013) |
Mon, 05/01/2015 - 20:12 |
| 813 |
Bríd Ní Ghruagáin, Guidelines on the pronunciation of Irish in Twentieth and Twenty-first Century Classical Song (MA, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 20:02 |
| 812 |
Joan Butler, The Opera 'Shamus O'Brien' by C.V. Stanford: Concept, Analysis and Cultural Context (Other, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 18:51 |
| 811 |
Clare McCague, Suite for Harp op.83 by Benjamin Britten: A Performer's Perspective (BA, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 18:40 |
| 810 |
Jennifer Davis, 'Carnival': The Figure of the 'She-male' in Opera (Other, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 18:21 |
| 809 |
Arun Rao, 'Pierrots Faches Avec La Lune': Debussy, Faure and Ravel during World War I (Other, Dublin Institute of Technology, 2013) |
Mon, 05/01/2015 - 17:45 |