Open Access Policy Deposits
Parent: Department of Education
eScholarship stats: History by Item for May through August, 2026
| Item | Title | Total requests | 2026-08 | 2026-07 | 2026-06 | 2026-05 |
|---|---|---|---|---|---|---|
| 5st9c8c4 | Give Me Something to Sing About’: intertexuality in Once More With Feeling | 606 | 192 | 197 | 118 | 99 |
| 5xw0x3gc | The impossible charm of Messiaen's <i>Chronochromie</i> | 357 | 68 | 73 | 92 | 124 |
| 5kt6s812 | Adolescent gang involvement: The role of individual, family, peer, and school factors in a multilevel perspective | 354 | 90 | 66 | 112 | 86 |
| 01p301wx | Did Someone Say Post-Spectral?’ The Orchestral Imaginary in Millenial Works by Tulve, Dalbavie, and Haas | 313 | 90 | 69 | 42 | 112 |
| 9bp6f677 | A Latent Transition Mixture Model Using the Three-Step Specification | 298 | 109 | 46 | 57 | 86 |
| 35g8m8f7 | From Pulsation to Sensation: Virtuosity and Modernism in Ligeti’s First and Ninth Piano Études | 285 | 54 | 39 | 57 | 135 |
| 98g4d1r6 | Second language acquisition | 277 | 78 | 53 | 56 | 90 |
| 6v77c7tj | The Inequitable Treatment of English Learners in California’s Public Schools | 270 | 68 | 46 | 49 | 107 |
| 1h30s015 | Intro to Quantum Harmony: Chords in Superposition | 252 | 78 | 48 | 60 | 66 |
| 2724q6fv | Acquisition of L2 Mandarin Chinese tones with learner-created tone visualizations | 247 | 79 | 40 | 44 | 84 |
| 5xn297x9 | Codes, constraints, and the loss of control in Ligeti’s keyboard works | 236 | 56 | 32 | 64 | 84 |
| 2n75r1mj | El Cajón del Mariachi: Schemata of a Vernacular Genre | 234 | 113 | 39 | 31 | 51 |
| 8w9186zw | Richard Steinitz, György Ligeti: Music of the Imagination (London: Faber and Faber, 2003), ISBN 0 571 17631 3 (hb) | 234 | 77 | 26 | 54 | 77 |
| 99b2p9tg | Automata in extremis : Mauro Lanza's sublime sound machines | 232 | 53 | 68 | 48 | 63 |
| 9n2184ws | Improvising in a different clave: Steve Coleman and AfroCuba de Matanzas | 229 | 84 | 38 | 55 | 52 |
| 51b6v47q | CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE | 220 | 61 | 41 | 49 | 69 |
| 8wx964ww | 'Are you dead, like us?’ The Liminal Status of the Undead in the Music of Ligeti | 209 | 58 | 30 | 44 | 77 |
| 58v5s45t | 'Composing the Sound itself;’ Secondary Parameters and Structure in the Music of Ligeti | 197 | 68 | 28 | 29 | 72 |
| 1hj164pd | An Explosive Confrontation Messiaen and the Post-War Avant-Garde | 194 | 50 | 28 | 52 | 64 |
| 03b7k2km | The Inequitable Treatment of English Learners in California's Public Schools | 191 | 37 | 15 | 56 | 83 |
| 1dk9k9d6 | Genre as emigre The return of the repressed in Ligeti's Second Quartet | 191 | 41 | 35 | 41 | 74 |
| 6km380kg | The Schoenberg/Brahms Critical Tradition Reconsidered | 189 | 84 | 34 | 29 | 42 |
| 4wm040z4 | Only the Truth! <i>Camelia la Tejana's Many Truths</i> | 188 | 56 | 21 | 36 | 75 |
| 2fp1g1cw | The ‘Other’ of the Exotic: Balinese Music as ‘Grammatical Paradigm’ in the Music of Ligeti | 187 | 37 | 33 | 45 | 72 |
| 89p0m2tk | Brahms's Ascending Circle: Hölderlin, Schicksalslied and the Process of Recollection | 187 | 36 | 24 | 57 | 70 |
| 3567g18k | Language and culture learning in higher education via telecollaboration | 180 | 56 | 75 | 17 | 32 |
| 2p7505c1 | Brahms as a Vanishing Point in the Music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6 | 179 | 49 | 16 | 34 | 80 |
| 4wx8q33n | German Liberalism, Nationalism, and Humanism in Hanslick’s Writings on Brahms | 177 | 27 | 18 | 48 | 84 |
| 9kp2h7v0 | Gravitational wave and CMB probes of axion kination | 177 | 35 | 39 | 65 | 38 |
| 7hf4q6w5 | Asian Americans and Creative Music Legacies | 174 | 37 | 21 | 48 | 68 |
| 8pw4s0gb | Somewhere In The Upstream, in memory of Yusef Lateef (1920-2013) | 160 | 39 | 20 | 39 | 62 |
| 65d6v84n | Understanding and Addressing the California Latino Achievement Gap in Early Elementary School | 159 | 31 | 24 | 30 | 74 |
| 5m416586 | Player vs. Monster: The Making and Breaking of Videogame Monstrosity | 155 | 24 | 19 | 56 | 56 |
| 8nz587px | In Search of Absolute Inwardness and Spiritual Subjectivity? The Historical and Ideological Context of Schumann's "Neue Bahnen" | 155 | 40 | 15 | 32 | 68 |
| 3sx6k97n | Brahms as a Vanishing Point in the Music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6 | 154 | 40 | 30 | 32 | 52 |
| 11g7m8wc | Utopias and Their Discontents: Ligeti's Reception History as Modernist Meta-Narrative | 152 | 39 | 17 | 30 | 66 |
| 3294j8bv | Brahms's Poetic Allusions through Hanslick's Critical Lens | 148 | 34 | 17 | 38 | 59 |
| 6w42d6p2 | FCJ-132 Towards a Performative Aesthetics of Interactivity | 147 | 57 | 24 | 24 | 42 |
| 9s17h6kz | "Come Rise to Higher Spheres!" Tradition Transcended in Brahms's Violin Sonata No. 1 in G major, Op. 78 | 138 | 34 | 31 | 25 | 48 |
| 54w4g8dn | "Wordless Judaism like the Songs of Mendelssohn"? Hanslick, Mendelssohn, and Cultural Politics in Late-Nineteenth Century Vienna | 136 | 29 | 13 | 38 | 56 |
| 6b5759bt | Language ideologies and literacy achievement: six multilingual countries and two international assessments | 134 | 21 | 15 | 29 | 69 |
| 4gm1n0cj | Ligeti, Kurtag, and Hungarian Music during the Cold War. By Rachel Beckles Willson. | 132 | 39 | 19 | 33 | 41 |
| 3s27h884 | "Tone-color, movement, changing harmonic planes: Cognition, Constraints and Conceptual Blends in Modernist Music," | 128 | 31 | 15 | 23 | 59 |
| 1nj9h71f | Introduction | 119 | 32 | 10 | 27 | 50 |
| 9js6z3xq | Quantitative Evaluation of Adult Subglottic Stenosis Using Intraoperative Long-range Optical Coherence Tomography | 119 | 9 | 26 | 26 | 58 |
| 1jq8s81b | A.E.CunninghamJ.ZibulskyBook Smart2014Oxford University PressNY | 116 | 55 | 4 | 11 | 46 |
| 4rh414vm | The World Without Music | 116 | 17 | 7 | 25 | 67 |
| 46d414qq | Associations Between Childhood Peer Victimization and Aggression and Subsequent Victimization and Aggression at College | 114 | 16 | 18 | 28 | 52 |
| 1nx542gw | Potential teachers' understanding of model-based science instruction: A knowledge in pieces approach. | 112 | 33 | 13 | 19 | 47 |
| 2580f24q | Symposium on Internationalization | 111 | 8 | 4 | 63 | 36 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.