Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1996. / Includes abstract and vita. Includes bibliographical references (leaves 179-189).

No description available.

Thesis (Ph.D.)--George Mason University, 2008. / Vita: p. 669. Thesis director: Jane T. Censer. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 657-668). Also issued in print.

Thesis (D. Min.)--Midwestern Baptist Theological Seminary, 2006. / Abstract. Includes bibliographical references (leaves 197-198, 208-210).

Thesis(M.S.)--Auburn University, 2005. / Abstract. Includes bibliographic references.

Thesis (Ph. D.)--Georgia State University, 1985. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 475-526).

No description available.

This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War.

Thesis (D. Min.)--Midwestern Baptist Theological Seminary, 2006. / "September 15, 2006." Includes bibliographical references.

David Harrison Macon (1870-1952) is often memorialized for his showmanship rather than his banjo playing. To compartmentalize such a significant American musician yields a wide gap within scholarship about Macon, country music history and the banjo. Macon’s banjo playing, documented through over two-hundred and fifty recordings made between the 1920s and 1950s, represents an array of cultures, eras, ethnicities, and styles all preserved in the repertoire of one of the most prolific country musicians of the 20th century. This study reveals Macon’s playing by considering such factors as influences that preceded his professional tenure, identifying elements within his playing from specific stylistic origins, and by technically notating selections from Macon’s canon that represent those influences. To understand the instrumental playing of one of early country music’s most important figures broadens understanding of banjo influences from the nineteenth century which laid the foundation for the instrument’s renaissance in the twentieth century.