Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: David Holley; submitted to the School of Music. Includes bibliographical references (p. 83-88)

Thesis (D.M.)--Northwestern University, 2005. / Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1556. Adviser: Judith L. Schwartz.

Thesis (Ph.D.)--University of Chicago, 1987. / Typescript. "Musical examples": leaves 545-656. "Catalogue of extant seventeenth-century Spanish theatrical songs": leaves 457-544. Bibliography: leaves 657-674.

Proefschrift--Amsterdam. / "Stellingen": iii p. inserted. "Bibliographie": p. [206]-210.

The Silence is the story of William Rose, a man who, while searching the world for his missing wife and daughter, is kidnapped and held in a secret Iranian prison. After many years of torture, abuse and a slow descent into insanity, secrets about his family manifest as mysterious and magical occurrences, creating a dangerous tension between the prisoners and guards. Questions begin to arise: Who is actually in charge of this prison? Why haven’t the guards ever met the warden? Why is the prison haunted by mysterious voices? And what exactly would it take to crumble the walls of this corrupt institution? Act II scene iii, The Hour of Angels – William sits alone in his cell, carving the images of his wife and daughter into the wall. As he begs his family to come back to him, the image of his wife slowly comes to life. Intermezzo and Act II scene i, Danger in the Meadow – Flashback. The prison guards spy on Christina and Madelyn Rose as they play in a meadow not far from the secret prison. Christina sees them hiding and in a panic sends her daughter to a distant building to hide and look for help.

Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China's neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution (wenhua jigou) into a creative industry (wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class ("talent") in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.