Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Dept. of History) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis PlanB (M.S.)--University of Wisconsin--Stout, 2007. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--Georgia State University, 2008. / Title from title page (Digital Archive@GSU, viewed June 10, 2010) Jennifer Esposito, committee chair; Jonathan Gayles, Richard Lakes, Carlos R. McCray, committee members. Includes bibliographical references (p. 201-228).

Over the past decade, popular music in Iran has steadily gained recognition beyond its borders. The Western media has increasingly provided an idealised and romanticised view of music-making in the Iranian underground. These reports create an image of popular musicians united under the same political and social challenges, while struggling to be heard against an oppressive regime. Contrary to these often overly politicised accounts, the current Iranian youth generation continues to explore its identity through the creation of new hybridised forms of popular music. This dissertation utilises first-hand accounts of musicians and those involved in Iranian popular music to analyse the current state of popular music in Iran since 1979. By recognising the heterogeneity of the Iranian post-revolutionary pop world, this study distinguishes the individual voices and experiences that make up the dynamic and multifaceted popular music scene in young, urban Iran and the Iranian diaspora. Opening with a historical account of music’s fluctuating relationship with regime censorship, this dissertation illuminates the many contradictions of popular music practice in a controlled climate that are also embedded within youth identity. Dichotomies continually emerge during this discourse, including globalisation vs. localism, authentic vs. borrowed, and home vs. homeland. These themes are prolific throughout the discussions of the illegal underground music scene in Tehran, the complexities of music in exile, and the final discussion of the role of popular music in the 2009 presidential election and subsequent Green Movement. Popular music continues to serve as an outlet for pleasure and entertainment while simultaneously representing the diverse voices of the young generation of Iranians in the world, as they seek to assert their identity and establish a future of their own.

Abstract A basic interpretive qualitative research design (Merriam, 2002) was used to explore the perceptions and observations of volunteer piano teachers providing weekly piano lessons to at-risk youth. Four volunteer piano teachers from two prairie cities who volunteered teaching three twenty-minute piano lessons a week for at least one year in a local school-based program, Heart of the City Piano Program, were interviewed. Data were analyzed using thematic analysis. Findings included three themes about the perceived benefits of piano lessons for the students –student self-motivation, student confidence, student sense of accomplishment – as well as three themes about distinguishing characteristics of the piano lessons – student focussed lessons, allowing students to be themselves, and positive role model relationships. Findings are discussed in relation to current research on at-risk youth and music education, and recommendations for further research and implications for practice are included.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 313-322). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 313-322). Also available on the Internet.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).