Thesis (D.A.)--New York University, 1982. / Typescript. Includes bibliographical references (leaves [50]-54).

Thesis (D.M.A.)--University of Oklahoma, 1988. / Includes bibliographical references (leaves 67-69).

In a psychobiography a psychological theory is used as a framework to uncover the story of an individual. The psychobiographical approach to research tends to be underutilised. The result of this is that an important area for the application of psychobiographical theory and the study of completed lives is neglected. The value of psychobiographical studies has been advocated by many scholars in the field of psychobiographical research for the development and testing of theories relating to human development. The subject under investigation in this psychobiography is Michael Jackson. Although much has been written about Jackson, not much of the existing literature adopts a psychological focus. The sampling procedure was purposive, as the subject was deliberately selected. The aim of this research was to explore and describe the life of Jackson through the use of the psychobiographical case method. Life history material in the form of biographies, newspaper articles, documentaries and interviews aided in creating a biographical sketch of Jackson's life. The progression of Jackson's personality development was analysed using Erikson’s psychosocial development theory. The data collection and analysis were conducted according to Yin's analytical generalisation which consists of two main strategies: (1) using a theoretical framework as a guide to determine what data are relevant, and (2) developing a matrix as a descriptive framework for organising and integrating the data. Furthermore, the process of data analysis was aided by the use of guidelines prepared by Alexander with Erikson’s psychosocial development as the theoretical framework. This research undertaking can be recognised as a positive demonstration of the value of Erikson’s psychosocial developmental theory in understanding the process of Michael Jackson's personality development. Recommendations regarding future research that utilises the psychobiographical research design and methodology have been made.

This qualitative dissertation identifies musical strategies that black theatre singers use when presenting and representing music that integrates western classical vocal aesthetics with stylistic genres of traditionally black forms like gospel, jazz, and blues. This study investigates the use of the voice by five black opera and musical theatre performers and the approaches that they take in the representation of music that requires integrated vocality, which integrates elements from western classical traditions with those from black popular and folk idioms. Data were collected through audio/visual analysis, interviews, and video stimulated recall, presented through narrative analysis. Three emergent themes are explored are as follows: Authenticity is rooted in the singer’s experience of cultural traditions and expression; technique is a means of personal and cultural expression and provides the opportunity for personal liberation, and; a singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. The implications for educators at the tertiary level are discussed in the final chapter. Alignment of technique, personal expression, and identity infuses a singer’s sound with meaning; fostering the black singer’s use of their cultural capital helps them transform their life experiences into artistic interpretation. Representation, the use of signs that link a person to their cultural circles, is an act of re-humanization, combating dehumanization caused by systematic and societal exclusion by placing positive images at the center of their cultural legacy. In higher education, pre-professional training becomes humanizing when expression is viewed as a means of critical understanding of a student’s lived experience. Also, inspiring persons with marginalized identities requires re-centralizing power toward those who can imagine themselves transforming the entertainment industry into a more inclusive artistic space.

The purpose was to determine the relationship between high or low cultural mistrust and vocal characteristics in African-American adolescent females. The vocal characteristics were vocal self-identification, singing style, and singing range.