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Correspondence between Dr. Gross & the Schillingers, discussing the course and Dr. Gross' progress. Other materials include an assignment on Instrumental Form, as well as a 1956 letter to Frances Schillinger from Bert Henry regarding proceeds paid to her from his Schillinger Center of Cleveland.

Correspondence between Bert Henry and Frances Schillinger regarding payments to use the Schillinger name, as well as his plans for the Schillinger Center of Cleveland, including its eventual dissolution and his decision to pursue a career in mathematics rather than music for financial reasons. Also includes exchanges between Mr. Henry and Stan Kenton regarding his student Roger Kiraly; and between Bert Henry and Carl Fischer.

I my CE thesis, I attempt to analyse the music from the motion picture "The Shawshank Redemption", trying to, on one hand, describe its narrative and emotional function in the film, answering to the question "why does it work?", and, on the other hand, justifying why this film was the founding work for the establishment of Thomas Newman's characteristic musical language, as a film composer.

What should a brazilian female singer and songwriter do to distinguish herself from the many other ones begin to release their albums now? What elements and tools should this composer and performer have in her music to be noticed? In what ways the formal training in a music college can improve the final result of this artistic work? In this culminating experience, those questions will be answered during the process of composing, arranging and recording five original songs, in brazilian styles. By understanding the profile of the brazilian female singer-songwriters, researching on their work and improving musical skills in performance, composition, improvisation and arranging, the result is becoming a full time singer and songwriter that is able to control all the phases in the production of an album: from pre-production (composing and arranging), to production (recording) and post-production (editing, mixing, mastering, releasing, publishing and performing).

A survey was undertaken in which 4,404 respondents participated to share their behavioral habits with regard to their interaction with music and its marketplace. Analysis of the responses was performed in order to discover relevant differences in behavior between those who identify as electronic music fans and those who identify as fans of other genres. Various behaviors were questioned in relation to listening habits, social media engagement, spending history, willingness to pay, and more. The data show that electronic music fans do behave differently from fans of other genres in a variety of respects (e.g. price expectations, music format preferences, and social media habits – among others). The data have the potential to be useful in aiding the development of business and marketing strategies for artists, record labels, and others by providing a more accurate view of the marketplace.