Open Access Policy Deposits
Parent: Department of Education
eScholarship stats: History by Item for January through April, 2025
| Item | Title | Total requests | 2025-04 | 2025-03 | 2025-02 | 2025-01 |
|---|---|---|---|---|---|---|
| 98g4d1r6 | Second language acquisition | 350 | 72 | 76 | 97 | 105 |
| 5kt6s812 | Adolescent gang involvement: The role of individual, family, peer, and school factors in a multilevel perspective. | 338 | 79 | 89 | 66 | 104 |
| 58v5s45t | 'Composing the Sound itself;’ Secondary Parameters and Structure in the Music of Ligeti | 218 | 180 | 13 | 16 | 9 |
| 5xw0x3gc | The impossible charm of Messiaen's <i>Chronochromie</i> | 206 | 68 | 60 | 38 | 40 |
| 9bp6f677 | A Latent Transition Mixture Model Using the Three-Step Specification | 172 | 45 | 39 | 42 | 46 |
| 8w9186zw | Richard Steinitz, György Ligeti: Music of the Imagination (London: Faber and Faber, 2003), ISBN 0 571 17631 3 (hb) | 133 | 48 | 27 | 34 | 24 |
| 7hf4q6w5 | Asian Americans and Creative Music Legacies | 99 | 30 | 18 | 27 | 24 |
| 99b2p9tg | Automata in extremis : Mauro Lanza's sublime sound machines | 94 | 18 | 25 | 27 | 24 |
| 1jq8s81b | A.E.CunninghamJ.ZibulskyBook Smart2014Oxford University PressNY | 82 | 17 | 15 | 29 | 21 |
| 6km380kg | The Schoenberg/Brahms Critical Tradition Reconsidered | 75 | 25 | 11 | 17 | 22 |
| 3294j8bv | Brahms's Poetic Allusions through Hanslick's Critical Lens | 74 | 22 | 17 | 19 | 16 |
| 46d414qq | Associations Between Childhood Peer Victimization and Aggression and Subsequent Victimization and Aggression at College | 68 | 11 | 17 | 18 | 22 |
| 2724q6fv | Acquisition of L2 Mandarin Chinese tones with learner-created tone visualizations | 66 | 17 | 14 | 18 | 17 |
| 4hw036ws | The Rumpus | 66 | 13 | 14 | 18 | 21 |
| 03b7k2km | The Inequitable Treatment of English Learners in California's Public Schools | 64 | 16 | 13 | 18 | 17 |
| 6w42d6p2 | FCJ-132 Towards a Performative Aesthetics of Interactivity | 59 | 18 | 11 | 15 | 15 |
| 51b6v47q | CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE | 55 | 14 | 12 | 14 | 15 |
| 5st9c8c4 | Give Me Something to Sing About’: intertexuality in Once More With Feeling | 51 | 21 | 9 | 15 | 6 |
| 9v96h8f4 | The effects of early home literacy environments on fourth-grade literacy achievement: an international comparison | 51 | 12 | 12 | 9 | 18 |
| 3cg6r51n | The Cosmopolitan Absurdity of Ligeti's Late Works | 45 | 7 | 8 | 21 | 9 |
| 3sx6k97n | Brahms as a Vanishing Point in the Music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6 | 44 | 12 | 9 | 12 | 11 |
| 9n2184ws | Improvising in a different clave: Steve Coleman and AfroCuba de Matanzas | 44 | 8 | 20 | 10 | 6 |
| 01p301wx | Did Someone Say Post-Spectral?’ The Orchestral Imaginary in Millenial Works by Tulve, Dalbavie, and Haas | 42 | 12 | 10 | 10 | 10 |
| 5m416586 | Player vs. Monster: The Making and Breaking of Videogame Monstrosity | 42 | 17 | 12 | 8 | 5 |
| 9s17h6kz | "Come Rise to Higher Spheres!" Tradition Transcended in Brahms's Violin Sonata No. 1 in G major, Op. 78 | 42 | 8 | 13 | 14 | 7 |
| 3s27h884 | "Tone-color, movement, changing harmonic planes: Cognition, Constraints and Conceptual Blends in Modernist Music," | 40 | 10 | 16 | 4 | 10 |
| 4wx8q33n | German Liberalism, Nationalism, and Humanism in Hanslick’s Writings on Brahms | 40 | 10 | 10 | 10 | 10 |
| 2fp1g1cw | The ‘Other’ of the Exotic: Balinese Music as ‘Grammatical Paradigm’ in the Music of Ligeti | 39 | 9 | 13 | 11 | 6 |
| 1dk9k9d6 | Genre as emigre The return of the repressed in Ligeti's Second Quartet | 38 | 8 | 8 | 8 | 14 |
| 2p7505c1 | Brahms as a Vanishing Point in the Music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6 | 37 | 9 | 9 | 9 | 10 |
| 8wx964ww | 'Are you dead, like us?’ The Liminal Status of the Undead in the Music of Ligeti | 37 | 10 | 13 | 7 | 7 |
| 7q1594xs | A Critical Inferno? Hoplit, Hanslick and Liszt's Dante Symphony | 36 | 10 | 4 | 14 | 8 |
| 3567g18k | Language and culture learning in higher education via telecollaboration | 35 | 11 | 8 | 9 | 7 |
| 65d6v84n | Understanding and Addressing the California Latino Achievement Gap in Early Elementary School | 34 | 11 | 11 | 6 | 6 |
| 6v77c7tj | The Inequitable Treatment of English Learners in California’s Public Schools | 33 | 14 | 8 | 7 | 4 |
| 1hj164pd | An Explosive Confrontation Messiaen and the Post-War Avant-Garde | 31 | 3 | 8 | 13 | 7 |
| 6b5759bt | Language ideologies and literacy achievement: six multilingual countries and two international assessments | 31 | 6 | 11 | 7 | 7 |
| 1h30s015 | Intro to Quantum Harmony: Chords in Superposition | 30 | 8 | 10 | 9 | 3 |
| 4gm1n0cj | Ligeti, Kurtag, and Hungarian Music during the Cold War. By Rachel Beckles Willson. | 30 | 8 | 8 | 1 | 13 |
| 5jb8g4tr | Adoption of open educational resources in California colleges and universities | 29 | 8 | 4 | 9 | 8 |
| 11g7m8wc | Utopias and Their Discontents: Ligeti's Reception History as Modernist Meta-Narrative | 27 | 12 | 4 | 6 | 5 |
| 6r01k343 | Networked music performance: An introduction for musicians and educators | 27 | 5 | 7 | 4 | 11 |
| 89p0m2tk | Brahms's Ascending Circle: Hölderlin, Schicksalslied and the Process of Recollection | 27 | 8 | 7 | 7 | 5 |
| 9kp2h7v0 | Gravitational wave and CMB probes of axion kination | 27 | 5 | 8 | 13 | 1 |
| 35g8m8f7 | From Pulsation to Sensation: Virtuosity and Modernism in Ligeti’s First and Ninth Piano Études | 26 | 8 | 5 | 7 | 6 |
| 4mb9p6r8 | Philosophy | 26 | 9 | 4 | 8 | 5 |
| 7642s3rr | Potential teachers' appropriate and inappropriate application of pedagogical resources in a model-based physics course: A âknowledge in piecesâ perspective on teacher learning | 26 | 6 | 8 | 5 | 7 |
| 8nz587px | In Search of Absolute Inwardness and Spiritual Subjectivity? The Historical and Ideological Context of Schumann's "Neue Bahnen" | 26 | 3 | 2 | 8 | 13 |
| 9sh1m288 | Techniques for Polytemporal Composition | 26 | 8 | 4 | 8 | 6 |
| 2n75r1mj | El Cajón del Mariachi: Schemata of a Vernacular Genre | 24 | 6 | 5 | 9 | 4 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.