Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 15, 2002, Mar. 10, 2003, Feb. 16, 2004, and Apr. 25, 2005. Includes bibliographical references (p. 89-90).

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.M.) Florida State University, 2005. / Advisor: Dale A. Olsen, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-3-07). Document formatted into pages; contains 86 pages. Includes biographical sketch. Includes bibliographical references.

Dissertation (PhD) Florida State University, 2006. / Advisors: Brian Gaber, Clifford K. Madsen, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-16-07). Document formatted into pages; contains 527 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph. D.)--York University, 2004. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 346-367). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99266.

Thesis (D.Mus.)-University of Pretoria, 2006. / Abstract in English. Includes bibliographical references. Available on the Internet via the World Wide Web.

abstract: The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre. / Dissertation/Thesis / M.A. Music 2011

The recording industry is little more than one hundred years old. In its short history there have been many changes that have redefined roles, enabled fortunes to be built and caused some to be dissipated. Recording and delivery formats have gone through fundamental conceptual developments and each technological transformation has generated both positive and negative effects. Over the past fifteen years technology has triggered yet another large-scale and protracted revision of the business model, and this adjustment has been exacerbated by two serious economic downturns. This dissertation references the author’s career to provide context and corroboration for the arguments herein. It synthesizes salient constants from more than forty years’ empirical evidence, addresses industry rhetoric and offers methodologies for musicians with examples, analyses, and codifications of relevant elements of the business. The economic asymmetry of the system that exploits musicians’ work can now be rebalanced. Ironically, the technologies that triggered the industry downturn now provide creative entities with mechanisms for redress. This is a propitious time for ontologically reexamining music business realities to determine what is axiological as opposed to simply historical axiom. The primary objective herein is to contribute to the understanding of applied fundamentals, the rules of engagement that enable aspirants and professionals alike to survive and thrive in this dynamic and capricious vocation. The secondary goal is to empower creative practitioners to circumvent systemic injustices that have been perpetrated and perpetuated by the oligopolistic market conditions that have prevailed for most of the century of recorded sound.

The links between national identity and the music industry in Canada are too diverse to be understood with any simplistic model of the nation. In early twentieth century Italy Ahtonio Gramsci examined the consumption of serialized stories written by foreigners. He developed a view of popular culture which focussed upon the role of the State in maintaining national unity. Since the federal State in Canada has intervened in the country's music business in recent years, Gramsci's schema provides us with a useful framework for that case. Moreover, his work avoids an orchestrated view of the nation or a narrow specification of the contents of culture. It allows us to take a view that Canadian culture is whatever Canadian's choose to write. Due to its inductive beginnings and theoretical shortcomings, the schema is not applied rigidly to music made by Canadians. Rather it has been kept on the sidelines to explore representations of Canadian music, the broadcasting, sound recording and concert promotion industries, and finally the future of music made in Canada. Gramsci's schema is one way to distinguish between the cause and uses of the nation in particular arguments. His ideas also explain why popular culture matters, without specifying its content or giving it artificial coherence. A framework is provided which admits that, in a society based upon exchange, the nation is fully implicated within a wider social fabric, so frequently cultural differences cannot be simplistically aligned with national borders. It allows us to reject essentialist nationalism and therefore the possibility of using the nation as a reason to suggest Canadian musicians are falling short, by not doing something different from their foreign counterparts. In its place the schema enables us to celebrate Canadian artists for what they have done in contributing to a wider sphere, and allows us to praise environments in which Canadian talent can be recognized and allowed to grow, whatever forms it takes. / Arts, Faculty of / Geography, Department of / Graduate

It has been demonstrated that early, formal and extensive musical training induces changes both at the structural and functional levels in the brain. Previous evidence suggests that musicians are particularly skilled in auditory analysis tasks. In this study, I aimed to find evidence that musical training affects the perception of acoustic cues in audiovisual speech processing for Native-English speakers. Using the McGurk paradigm –an experimental procedure based on the perceptual illusion that occurs when an auditory speech message is paired to incongruent visual facial gestures, participants were required to identify the auditory component from an audiovisual speech presentation in four conditions: (1) Congruent auditory and visual modalities, (2) incongruent, (3) auditory only, and (4) visual only. Our data showed no significant differences in accuracy between groups differentiated by musical training. These findings have significant theoretical implications suggesting that auditory cues for speech and music are processed by separable cognitive domains and that musical training might not have a positive effect in speech perception. / Graduate / 2020-08-12