Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 284-303). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.)--Lancaster Bible College, 2002. / Includes bibliographical references (leaves 65-66).

Thesis (Ph. D.)--University of Oklahoma, 1998. / Includes bibliographical references.

The Southern Baptist Convention's Music Department and state associations, with their vast influence yet often modest resources, educated generations of pianists and organists in the arts of accompanying and service playing. Chapter 1 examines the genesis of this education movement, beginning with B. B. McKinney's interest through the Southern Baptist Convention's Music and Worship committee. Chapters 2 and 3 contain an overview of previous studies and the materials of other protestant American denominations and Baptists used to train keyboard musicians. These include Lutheran, Nazarene, Methodist, and independent Baptist. Chapter 4 covers the results of the work of the Music and Worship Committee to the establishment of the Music Week at Ridgecrest, a Southern Baptist retreat, the formation of the Church Music Department and Music Week's expansion to Glorieta, another Southern Baptist retreat, and the decision to begin

This study links patriarchal Catholic Church culture and feminist studies in musicology to reveal the multi-faceted opus and career of Rolande Falcinelli, 1920-2006. Organist, composer, and pedagogue Rolande Falcinelli was the first woman to be named titular over a prestigious organ console in Paris, that of the Sacré-Coeur Basilica, in 1945; she was also a renowned organ pedagogue at the Paris Conservatory for over thirty years. Yet her rich legacy of compositions remains largely unknown. This paper explores the significance of her entrance into liturgical creative work in the Catholic Church by showing the enormous force of historical repression against women in this context. Through examples ranging from Hildegard in the 11th century to Jeanne Demessieux in the 20th, it shows how the model and persona of the nun-organist has been a tacit lifestyle requirement of women organists in the Catholic Church, and how Falcinelli’s failure to adhere to that model affected her liturgical career. Next, it presents Falcinelli’s impressive body of compositions and shows examples of feminine coded material which appear throughout her opus, both subtly and overtly. Invoking studies by McClary, Citron, Epstein, Cusick, and others, this study includes a short history of gender studies in musicology, then places Falcinelli’s opus in the context of current thought on the feminine aesthetic in music. / text

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Thesis (M.A.)--Western Conservative Baptist Seminary, 1989. / Abstract. Includes bibliographical references (leaves 79-84).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1981. / Includes bibliographical references (leaves 149-151).

Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Mar. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 228-240.