Thesis (Ph. D.)--Washington State University, 1983. / "A chronology of women directors of the twentieth century": leaves [219]-233. "Chronology of women directors in off-broadway theatres, 1937-47; 1960-80": leaves 234-237. "Chronology of women directors in regional theatres, 1963-1981": leaves 238-246.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 78-81). Also available online in Scholars' Bank.

What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. Finding an audience is the role of the record company. A record producer must also engage with the commercial expectations of the interests that underwrite a recording. This dissertation considers three fields of interest in the recording process: the performer and the song; the technology of the recording context; and the commercial ambitions of the record company—and positions the record producer as a nexus at the interface of all three. The author reports his structured recollection of five recordings, with three different artists, that all achieved substantial commercial success. The processes are considered from the author‘s perspective as the record producer, and from inception of the project to completion of the recorded work. What were the processes of engagement? Do the actions reported conform to the template of nexus? This dissertation proposes that in all recordings the function of producer/nexus is present and necessary—it exists in the interaction of the artistry and the technology. The art of record production is to engage with these artists and the songs they bring and turn these potentials into form.

published_or_final_version / Comparative Literature / Master / Master of Philosophy

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

published_or_final_version / abstract / Humanities / Master / Master of Philosophy

Production of turkeys in Utah has had a rapid growth since its beginning a few decades ago. In 1929 there were only 226,000 birds sold by Utah producers and in 1960 there were 2,798,000 birds sold. Over this 31 year period of time production has increased 12 times.

Thesis (M. Phil.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

Thesis (Ph. D.)--Columbia University, 1955. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [374]-390).

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 223-242). Available also in a digital version from Dissertation Abstracts.