| 943 |
Patrice Keegan, From ancient to avant-garde: The evolution of the organ in Ireland and a performer's analysis of five contemporary pieces for solo organ (DMusPe… |
Fri, 08/07/2022 - 18:12 |
| 942 |
Fearghal Ó Conchubhair, The influence of the Cork International Choral Festival on choral singing, choral conducting and choral composition in Ireland (1954… |
Fri, 29/04/2022 - 10:24 |
| 824 |
Sylvia O Brien, Implications of collaboration: the recreative artist and autoethnographic research in Seóirse Bodley's Never to have lived is best (1965) (DMusP… |
Tue, 15/03/2022 - 11:31 |
| 955 |
Matthew Mazanek, Implicit curriculum: improvisation pedagogy in guitar methods 1760-1860 (DMusPerf, Royal Irish Academy of Music, 2021) |
Thu, 28/10/2021 - 11:35 |
| 951 |
Kenneth Edge, Reimagining the saxophone: preparing works by six Irish composers for performance - a first history (DMusPerf, Royal Irish Academy of Music, 2021) |
Fri, 21/05/2021 - 13:53 |
| 946 |
Billy O'Brien, Connecting abstract values to artistic choices: The significance of the themes of death and melancholy in Maurice Ravel's Miroirs a… |
Mon, 25/01/2021 - 15:02 |
| 947 |
Mary Pedder Daly , The relevance and effect of Musicam Sacram, Vatican II, in present-day Irish Catholic Liturgies (DMusPerf, Royal Irish Academy of Music), in progr… |
Mon, 25/01/2021 - 14:42 |
| 945 |
Madeline Judge, Vignettes: Covered Wagon Woman: A performer's perspective (DMusPerf, Royal Irish Academy of Music), in progress |
Thu, 17/12/2020 - 16:35 |
| 944 |
Redmond O'Toole, Hudleston’s Harmonic Sounds: An Evaluation of Josiah Hudleston’s 1841 Treatise on Guitar Harmonics (DMusPerf, Royal Irish Academy of Music, 2020… |
Tue, 15/12/2020 - 16:42 |
| 939 |
Horng Kent Tham, Interpretation and Performance: An Investigation into Franz Schubert's Piano Sonata in A major D959 (DMusPerf, Royal Irish Academy of Music, 201… |
Thu, 10/12/2020 - 14:41 |
| 940 |
Bernie Sherlock , Contemporary Irish choral music and an outline of its historical origins (DMusPerf, Royal Irish Academy of Music, 2018) |
Thu, 10/12/2020 - 14:39 |
| 463 |
Gavan Ring, Performance Considerations for Robert O’Dwyer’s Eithne (1909): A Contextual Study and Edited Vocal Score (DMusPerf, Royal Irish Academy of Music… |
Sat, 05/12/2020 - 12:13 |
| 941 |
Alexander Bernstein, An investigation of Aaron Copland’s Night Thoughts (1972) through a performative analysis (DMusPerf, Royal Irish Academy of Music, 2020) |
Fri, 04/12/2020 - 12:09 |
| 938 |
William Lees, Gerald Finzi’s Violin Concerto: A Performer’s Perspective (DMusPerf, Royal Irish Academy of Music, 2019) |
Thu, 03/12/2020 - 15:02 |
| 400 |
Fionnuala Moynihan, Considerations for a Modern Performance of John Field’s Piano Sonata op.1 no.1 in E flat major (DMusPerf, Royal Irish Academy of Music,… |
Thu, 03/12/2020 - 12:39 |
| 406 |
Annette Cleary, The Process of Preparing Irish Cello Sonatas (1968-1996) for Performance (DMusPerf, Royal Irish Academy of Music, 2010) |
Thu, 03/12/2020 - 12:33 |
| 477 |
Orla Flanagan, Music, Text and Context in Felix Mendelssohn's Choral Works for Berlin Cathedral (DMusPerf, Royal Irish Academy of Music, 2012) |
Thu, 03/12/2020 - 12:28 |
| 494 |
Dimitri Papadimitriou, An exploration of the key characteristics in Beethoven's Piano Sonatas and selected instrumental repertoire (DMusPerf, Royal Iri… |
Thu, 03/12/2020 - 12:20 |
| 493 |
Desmond Earley, French Basso Continuo Performance Technique: a study of the arpeggiated gesture in the prélude non mesuré (c1650-c1720) (DMusPerf, Royal Iri… |
Thu, 03/12/2020 - 12:14 |
| 502 |
Archie Chen, Towards a Historically Informed Performance of Chopin’s Op. 10 Études (DMusPerf, Royal Irish Academy of Music, 2016) |
Thu, 03/12/2020 - 12:13 |