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Title | Date | Type | Setname |
| 1 |
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"Living with our toxic legacy": parafictional practice and the national toxic land/labor conservation service | 2017 | Text | ir_etd |
| 2 |
 |
(UN)Known Origin | 2017 | Text | ir_htoa |
| 3 |
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36 frames: a self portrait | 2012-05 | Text | ir_htoa |
| 4 |
 |
50% Solution | 2008 | Image | ir_uspace |
| 5 |
 |
A collaboration: dance and theatre | 2011-05 | Text | ir_etd |
| 6 |
 |
A history, analysis, and registry of Mormon architectural art glass in Utah | 1981 | Text | ir_etd |
| 7 |
 |
A Measurement of certain skills of musicianship among high school brass, woodwind, and percussion players | 1976 | Text | ir_etd |
| 8 |
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A musical mono-drama The Mind's Eye | 2000-08 | Text | ir_htca |
| 9 |
 |
A name for a Bird | 1964 | Text | ir_etd |
| 10 |
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A personal philosophy: its basis and implications | 1970 | Text | ir_etd |
| 11 |
 |
A selective history of portraiture | 1982-04-13 | Text | ir_htca |
| 12 |
 |
A Slingshot out of the valley contemporary relevance of the local in the local art scene | 2009 | Text | ir_etd |
| 13 |
 |
A survey of graduate programs in arts administration and a proposed program for the University of Utah | 1975 | Text | ir_etd |
| 14 |
 |
A thousand steps around me: a study of discovering metaphor through manipulating repetition in dance | 2011-08 | Text | ir_etd |
| 15 |
 |
Abigail Bowe: Art Portfolio 2020 Life Drawings and Character Design | 2020 | Text | ir_htoa |
| 16 |
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Abject/body: A performative perspective on race, gender, and violence in dance | 2017 | Text | ir_etd |
| 17 |
 |
Academia | 2008 | Image | ir_uspace |
| 18 |
 |
The acceptance of error: allowing imperfections to transform the collective | 2018 | Text | ir_etd |
| 19 |
 |
Adam | 2008 | Image | ir_uspace |
| 20 |
 |
The adaptable body: cultivating a hybrid form from community, harmony, and joy | 2018 | Text | ir_etd |
| 21 |
 |
Aerial alchemy | 2010-05 | Text | ir_etd |
| 22 |
 |
After the rhapsody: George Gershwin in the Spring of 1924 | 2014-01-01 | Text | ir_uspace |
| 23 |
 |
An analysis of Anton Bruckner's symphony number seven in E major | 1972 | Text | ir_etd |
| 24 |
 |
An examination of Francesco geminiani's six concerti grossi, OPUS 3 | 1967 | Text | ir_htca |
| 25 |
 |
An exploration of vulnerability through creative process and performance | 2012-08 | | ir_etd |
| 26 |
 |
An interpretation of events in the life of Christ | 1959 | Text | ir_etd |
| 27 |
 |
Analysis of Mozart symphony no. 39 in E-flat | 1955 | Text | ir_etd |
| 28 |
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Analysis of Schubert symphony no.8 in B minor | 1955 | Text | ir_etd |
| 29 |
 |
Anthropology, Ethnography, and Documentary Film: Reflecting on a Documentary Journey | 2018 | Text | ir_htoa |
| 30 |
 |
Antonio Henrique Amaral's Battlefield paintings (1973-1974) and the Brazilian military dictatorship | 2017 | Text | ir_etd |
| 31 |
 |
Apple Boy | 2008 | Image | ir_uspace |
| 32 |
 |
The Araner: an original screenplay | 1998-05 | Text | ir_htca |
| 33 |
 |
Are you my boyfriend? exploring a choreographic narrative | 2010 | Text | ir_etd |
| 34 |
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Are you my boyfriend? exploring a choreographic narrative | 2010-08 | Text | ir_etd |
| 35 |
 |
Arioso for alto recorder and live electronics [performance materials] | 2012-09-09 | Text; Dataset | ir_uspace |
| 36 |
 |
Arioso for alto recorder and live electronics [score] | 2012-09-09 | | ir_uspace |
| 37 |
 |
Arioso for alto recorder and live electronics [videorecording] | 2012-09-09 | Image/MovingImage | ir_uspace |
| 38 |
 |
Army of self: dance democracy | 2017 | Text | ir_etd |
| 39 |
 |
The art of staring | 1996-03 | Text; Image | ir_mfafp |
| 40 |
 |
The artist is not present: Andy Warhol's 1967 Utah "hoax" as performance and self-portraiture | 2011-08 | Text | ir_etd |
| 41 |
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Artists live on islands: limitations as a creative ritual | 2012-08 | Text | ir_etd |
| 42 |
 |
Arts-based service-learning: a state of the field | 2008 | Text | ir_uspace |
| 43 |
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Authenticity, preservation, and the Transnational identity of space: comparing Yin Yu Tang and the linden centre | 2018 | Text | ir_etd |
| 44 |
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Authorship and architectural influences on the Salt Lake Temple | 1972 | Text | ir_etd |
| 45 |
 |
Automatic Processing Pitfalls | 2016 | Text | ir_mfafp |
| 46 |
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Back to Bagatelles: Realizing the Remainder of Ligett's Musica Ricercata | 2019 | Text | ir_htoa |
| 47 |
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Be somewhere | 2017-05 | Text | ir_mfafp |
| 48 |
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The beautiful beast: the subversive power of monsters in the aesthetics of dance and individual expression | 2013-08 | Text | ir_etd |
| 49 |
 |
Becoming incredible: healing trauma through performance | 2015-08 | Text | ir_etd |
| 50 |
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Becoming large enough: encompassing subjective and objective perspectives in one whole | 2010-08 | Text | ir_etd |
| 51 |
 |
Belongings: a material lineage | 2007-12 | Text | ir_etd |
| 52 |
 |
Beyond classical: mixing in the belt. An exploration of musical theatre singing | 2015-08 | Text | ir_htoa |
| 53 |
 |
Beyond words: an embodied empathetic process | 2011-08 | Text | ir_etd |
| 54 |
 |
Bifurcate: Intersections and Photography | 2015-04 | Text; Image | ir_etd |
| 55 |
 |
Big Drain, Little Flame, Lots of Pain | 2007 | Image | ir_uspace |
| 56 |
 |
The big unknown | 2016-08 | Text; Image | ir_mfafp |
| 57 |
 |
The blackfeet medicine lodge ceremony: ritual and dance-drama | 1968 | Text | ir_etd |
| 58 |
 |
Blues Claro | 2009 | Text | ir_uspace |
| 59 |
 |
Blues en el Corazón | 2009 | Text | ir_uspace |
| 60 |
 |
Blues M?gico | 2009 | Text | ir_uspace |
| 61 |
 |
Blues Ronco | 2009 | Text | ir_uspace |
| 62 |
 |
Bodily transfer and sacrificial gestures: rethinking the Hungry Tigress Jataka in Mogao Cave 254 | 2014-08 | Text | ir_etd |
| 63 |
 |
The body expresses: a study on the relationship between motion and emotion | 2019 | Text | ir_etd |
| 64 |
 |
Bridge II | 2007 | Image | ir_uspace |
| 65 |
 |
Bridge III | 2007 | Image | ir_uspace |
| 66 |
 |
Bridge III (detail) | 2007 | Image | ir_uspace |
| 67 |
 |
Canto Repartido | 2004 | Text | ir_uspace |
| 68 |
 |
Carnaval, carny, and cartoons: Carl stalling's cartoon music in historical context | 2011 | Text | ir_etd |
| 69 |
 |
Casi Cueca | 1997 | Text | ir_uspace |
| 70 |
 |
Challenges in Playing the Flute and Their Specfiic Application to Solo Flute Literature | 2016 | Text | ir_htoa |
| 71 |
 |
Chester, NJ for full orchestra and electronics and the chromatic scale and other iterative loops in beat furrer's Konzert fur Klavier und Orchester | 2016 | Text | ir_etd |
| 72 |
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Chester, NJ" for full orchestra and electronics, and, The chromatic scale and other iterative loops in Beat Furrer's Konzert fuer Klavier and Orchester | 2016 | Text | ir_etd |
| 73 |
 |
Chiasmi 1999 | 1999 | Text | ir_etd |
| 74 |
 |
Choreography for four experience levels of Modern Dance | 1969 | Text | ir_etd |
| 75 |
 |
Collapsible Chair (back) | 2005; 2006 | Image | ir_uspace |
| 76 |
 |
Collapsible Chair (front) | 2005; 2006 | Image | ir_uspace |
| 77 |
 |
The commune in commodities: Bruno braquehais's photography of the Paris commune of 1871 | 2021 | Text | ir_htoa |
| 78 |
 |
The communicative power of laughter in modern dance | 2015-12 | Text | ir_etd |
| 79 |
 |
Controlling the fear of death through the classical body: ideas on choreography, mortality, and the potential for integrative transformation | 2019 | Text | ir_etd |
| 80 |
 |
Creolite and cultural cannibalism: reconstructing Cuban identity in the work of Marta Maria Perez Bravo and Maria Magdalena Campos-Pons | 2012-12 | Text | ir_etd |
| 81 |
 |
Cuarteto Claroscuro | 1997 | Text | ir_uspace |
| 82 |
 |
Curing, detail view | 2006 | Image | ir_uspace |
| 83 |
|
Curing, detail view | 2006 | Image | ir_uspace |
| 84 |
 |
Curing, sitting view | 2006 | Image | ir_uspace |
| 85 |
|
Curing, sitting view | 2006 | Image | ir_uspace |
| 86 |
 |
Curing, view from the entrance | 2006 | Image | ir_uspace |
| 87 |
|
Curing, view from the entrance | 2006 | Image | ir_uspace |
| 88 |
 |
Curing, view from the southeast corner | 2006 | Image | ir_uspace |
| 89 |
|
Curing, view from the southeast corner | 2006 | Image | ir_uspace |
| 90 |
 |
Cybermuse | 2002 | Image | ir_uspace |
| 91 |
 |
Dance and isolation: themes of technology, independence, loneliness, control, vulnerability, and connection | 2018 | Text | ir_etd |
| 92 |
 |
Dance as a place-making device: examining environmental psychology and place-identity through choreography and performance | 2009-05 | Text | ir_etd |
| 93 |
 |
Dance as Activism: Exploring Gun Violence Through Movement and Text | 2019 | Text | ir_htoa |
| 94 |
 |
Dance hacking: digital technology and the performing body | 2014-08 | Text | ir_etd |
| 95 |
 |
Dance movement therapy: transforming psychological trauma into growth | 2019 | Text | ir_etd |
| 96 |
 |
Dance theatre of Alwin Nikolais | 1905-05-20 | Text | ir_etd |
| 97 |
 |
Dance training as mechanism for overcoming the technologization of the body | 2013-08 | Text | ir_etd |
| 98 |
 |
Dances Inspired by the Navaho | 1971 | Text | ir_etd |
| 99 |
 |
Dancing amidst flames: discomfort and surrender as a catalyst for artistic growth in choreography and performance | 2015-05 | Text | ir_etd |
| 100 |
 |
Dancing from within: the role of intuition | 2008-08 | Text | ir_etd |
| 101 |
 |
Dancing metal/dancing flesh: alternate opportunities for embodiment through cybernated addenda | 2012-05 | Text | ir_etd |
| 102 |
 |
Dancing toward humanity: accessing embodiment in artifice within the choreographic and performative processes | 2013-08 | Text | ir_etd |
| 103 |
 |
Danza del Ocaso | 1998 | Text | ir_uspace |
| 104 |
 |
Danza del Ocaso | 1998 | Text | ir_uspace |
| 105 |
 |
De metal y madera: for flute, cello, percussion, and electronics | 1999 | Text | ir_uspace |
| 106 |
 |
Defining Ballet: How the Culture Shapes the Expression of Art | 2017 | Text | ir_htoa |
| 107 |
 |
DeGrunchy's Mantle a pastoral in blank verse | 1991-06 | Text | ir_htca |
| 108 |
 |
Desde el Límite | 2006 | Text | ir_uspace |
| 109 |
 |
Designing for Interactivity: the Camera in 3D Video Games | 2019 | Text | ir_htoa |
| 110 |
 |
Desire | 2005 | Image | ir_uspace |
| 111 |
 |
The development of allegro: exploring how music, throught predagogical practices in ballet class, can have lasting effects on a dancer | 2019 | Text | ir_etd |
| 112 |
 |
Dioxin Sea | 2009 | Image | ir_uspace |
| 113 |
 |
Don Quixote: The art of interpretation | 1987-05 | Text | ir_htca |
| 114 |
 |
Dottie | | Image | ir_uspace |
| 115 |
 |
Dream Reliquary (side A) | 2009 | Image | ir_uspace |
| 116 |
 |
Dream Reliquary (side B) | 2009 | Image | ir_uspace |
| 117 |
 |
Dream Swim | 2011 | Text | ir_uspace |
| 118 |
 |
Dying Reef | 2005 | Image | ir_uspace |
| 119 |
 |
Dying Reef II | 2009 | Image | ir_uspace |
| 120 |
 |
Editing in the choreographic process: "I am a work of fiction" | 2013-08 | Text | ir_etd |
| 121 |
 |
Education, art and Activism: Collecting the Stories of World-Changers | 2020 | Text | ir_htoa |
| 122 |
 |
The effects of smartmusic® on sixth-grade beginning string instrumentalists' practice time, practice motivation, attitudes toward smartmusic®, and performance scores | 2019 | Text | ir_etd |
| 123 |
 |
Embodied spectacle: an exploration of three-dimensional performance | 2012-05 | Text | ir_etd |
| 124 |
 |
Embodying eclecticism from potential to actualization | 2014-08 | Text | ir_etd |
| 125 |
 |
Embodying identity: movement as an experience of self | 2011-05 | Text | ir_etd |
| 126 |
 |
Embodying tourism and performance: a new look at landscape | 2008-08 | Text | ir_etd |
| 127 |
 |
Endangered Earth Reliquary | 2006 | Image | ir_uspace |
| 128 |
 |
Entrance | 2008 | Image | ir_uspace |
| 129 |
 |
Evening of baroque music | 2009-10-04 | Image/MovingImage | ir_uspace |
| 130 |
 |
Evening of baroque music | | | ir_uspace |
| 131 |
 |
Evening of baroque music | | | ir_uspace |
| 132 |
 |
Exploring personal truth: staging a theatre of the body | 2017 | Text | ir_etd |
| 133 |
 |
False Healer | 2002 | Image | ir_uspace |
| 134 |
 |
Fashion dualism: Practical versus conceptual | 1994-06 | Text | ir_htca |
| 135 |
 |
Faustus, Marlowe, and Bosch: Intersections of medieval fantasy imagery | 2015-04 | Text | ir_htoa |
| 136 |
 |
Federal Education Reform and Music Education: a Review of the Literature and Implications for the Future | 2018 | Text | ir_htoa |
| 137 |
 |
Figuratively foreign | 2013-07 | Text | ir_htoa |
| 138 |
 |
Finding a character | 2014-05 | Text | ir_htoa |
| 139 |
 |
Finials | 2007 | Image | ir_uspace |
| 140 |
 |
Flight | 2008 | Image | ir_uspace |
| 141 |
 |
Flying Chair | 2005; 2006 | Image | ir_uspace |
| 142 |
 |
Following fish and fractals: self-affine patterns of hierarchical formal structures embedded in the contours of Rolf Wallin's ning | 2018 | Text | ir_etd |
| 143 |
 |
Four stage & 3 months in-between | 2017-07 | Text | ir_mfafp |
| 144 |
 |
Four Worlds | 2005 | Image | ir_uspace |
| 145 |
 |
Frankenstein: A dramatic adaptation | 1995-08 | Text | ir_htca |
| 146 |
 |
French violoncello music of the late nineteenth and early twentieth centuries | 1995-08 | Text | ir_htca |
| 147 |
 |
From tremor to movement: a choreographic process with fitzmaurice voicework | 2016 | Text | ir_etd |
| 148 |
 |
Gather-piece-stitch: The art of place | 2016 | Text | ir_mfafp |
| 149 |
 |
Generative Spaces | 2023 | Text | ir_etd |
| 150 |
 |
Ghost Ship | | Image/MovingImage | ir_uspace |
| 151 |
 |
Going to the Other Side | 2007 | Image | ir_uspace |
| 152 |
 |
Gold powder and gunpowder: the appropriation of western firearms into japan through high culture | 2015-08 | Text | ir_etd |
| 153 |
 |
Golem | 2008 | Image | ir_uspace |
| 154 |
 |
Good Twin, Evil Twin (back) | 2006 | Image | ir_uspace |
| 155 |
 |
Good Twin, Evil Twin (front) | 2006 | Image | ir_uspace |
| 156 |
 |
Graffiti, art, and identity: exploring Gajin Fujita's Hood Rats | 2015-05 | Text | ir_etd |
| 157 |
 |
Growing a new body: physicalizing paradoxical systems of grief and desire | 2019 | Text | ir_etd |
| 158 |
 |
The gum bichromate process | 1995-12 | Text | ir_htca |
| 159 |
 |
Hamsa | 2007 | Image | ir_uspace |
| 160 |
 |
Hamsa (detail) | 2007 | Image | ir_uspace |
| 161 |
 |
Hayden | 2009 | Image | ir_uspace |
| 162 |
 |
Heart | 2007 | Image | ir_uspace |
| 163 |
 |
Heart, Lung, and Hand Milagros | 2005 | Image | ir_uspace |
| 164 |
 |
Henry Fuseli's The Death of Dido at somerset house | 2011-08 | Text | ir_etd |
| 165 |
 |
Herbarium obscura: shadow of nature | 2016 | Text; Image | ir_mfafp |
| 166 |
 |
Highchair | 2005; 2006 | Image | ir_uspace |
| 167 |
 |
Hip hop artistic model | 2008-11 | Text | ir_etd |
| 168 |
 |
Historical perspectives: portraits from civil war america | 2012-05 | Text | ir_htoa |
| 169 |
 |
Historical survey and application of cinema filmmkaing | 1998-12 | Text | ir_htca |
| 170 |
 |
The history and legacy of the "Russian" violin bow hold | 2021 | Text | ir_htoa |
| 171 |
 |
The history of Cyrus Edwin Dallin: Eminent Utah sculptor | 1948 | Text | ir_etd |
| 172 |
 |
History of the modern dance program at the University of Utah 1968-1989 | 2010-07 | Text | ir_etd |
| 173 |
 |
The history of the San Francisco ballet company from its beginnings through 1951 | 1960 | Text | ir_etd |
| 174 |
 |
Holy Cow | 2008 | Image | ir_uspace |
| 175 |
 |
Holy Cow | 2009 | Image | ir_uspace |
| 176 |
 |
Homosocial tension in aaron siskind's bill lipkind 10: an examination of the male form as outlier | 2015 | Text | ir_etd |
| 177 |
 |
The hopefuls: growing sideways in the choreographic process | 2017 | Text | ir_etd |
| 178 |
 |
The horror of sexual violence: The representations of rape in American horror story | 2014-05 | Text | ir_htoa |
| 179 |
 |
How contact improvisation can inform the creative process and enliven its product | 2008-05 | Text | ir_etd |
| 180 |
 |
How Creative Movement Practices, Such as Storytelling and Personal Narrative, Act as a Medium for People with Disabilities to Understand and Express Identity | 2014 | Text | ir_htoa |
| 181 |
 |
How Much of What We Did Was Good? | 2019 | Text | ir_htoa |
| 182 |
 |
The human versus the supernatural: intervallic, motivic, and harmonic connections in stravinsky's the firebird | 2015-08 | Text | ir_etd |
| 183 |
 |
Hyperbole for flute, clarinet, violin, cello, and piano | 1996 | Text | ir_uspace |
| 184 |
 |
Icarus Chair | 2002 | Image | ir_uspace |
| 185 |
 |
Icarus Chair (detail 1) | 2002 | Image | ir_uspace |
| 186 |
 |
Icarus Chair (detail 2) | 2002 | Image | ir_uspace |
| 187 |
 |
Incantation Bowls | 2007 | Image | ir_uspace |
| 188 |
 |
The influence of Artur Schnabel in the preparation and performance of Beethoven : Piano Concerto #1 in C Major Op. 15 | 1994 | Text | ir_htca |
| 189 |
 |
Installation View of 'Four Worlds' (left) and 'Heart, Hand, and Lung Milagros' (right) | 2005 | Image | ir_uspace |
| 190 |
 |
Interpretation and analysis of three works for the Bassoon | 1958 | Text | ir_etd |
| 191 |
 |
Intimacy for deconstruction: the role of female relationships in choreography | 2017 | Text | ir_etd |
| 192 |
 |
Italy: My catalyst | 2013-05 | Text | ir_htoa |
| 193 |
 |
Jacob's Ladder | 2004 | Image | ir_uspace |
| 194 |
 |
Jody | | Image | ir_uspace |
| 195 |
 |
Joe Hill: A visual exploration of the myth and the man | 1994-06 | Text | ir_htca |
| 196 |
 |
Journey | 2007 | Image | ir_uspace |
| 197 |
 |
Journey (detail) | 2007 | Image | ir_uspace |
| 198 |
 |
Katherine Anne Porter: Five southern stories | 1977-06-10 | Text | ir_htca |
| 199 |
 |
Keyframe: Six Images for Jazz Sextet and String Quartet | 2020 | Text | ir_htoa |
| 200 |
 |
Keys For Houses That Are No More | 2009 | Image | ir_uspace |
