Thesis--Catholic University of America, 1933. / At head of title: The Catholic university of America. Includes bibliographical references (p. 173-186) and index.

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 177-179).

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2000. / Abstract. Includes bibliographical references (leaves 203-210).

"Presented to the Faculty of the Graduate school of Yale University in candidacy for the degree of doctor of philosophy in June, 1917."--Pref. / Bibliography: p. [xi]-xiv.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Charles Brewer, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed June 19, 2006). Document formatted into pages; contains x, 166 pages. Includes bibliographical references.

Project (D. Min.)--Perkins School of Theology, Southern Methodist University, 1989. / Abstract. Includes bibliographical references.

"We preach Christ crucified, a stumbling-block to Jews and folly to Gentiles". In so writing, St. Paul stated in its briefest form the scandal of the Christian faith. To human reason it is nonsense to suppose that a man who grew up and lived like other men, and who ultimately died on a cross, could at the same time be the Son of God, equal to God, eternal like God, and Creator of the world with Him. Contrary to the painfully-evolved and carefully formulated conclusion reached by philosophers, that God is one, and diametrically opposed to the monotheistic divine revelation given to Israel, the belief that Jesus was Son of God and equal to His Father seemed; when it was first postulated, to imply some kind of flaw in the indivisibility of God. Men were being asked to believe that they could see God incarnate, that is, in a being of flesh and blood. Yet all our faith hovers around this precise point.

This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.

This thesis undertakes a study of some of the historical origins and developments of the Southern Baptist Convention in relation to its music.

Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.