Thesis (Ph. D.)--University of Rhode Island, 2005. / Typescript. Includes bibliographical references (leaves 239-261).

Thesis--University of Michigan. / Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1977. -- 21 cm. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 127-130).

Thesis--University of Michigan. / Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1977. -- 21 cm. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 127-130).

Thesis (M.S.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 162-168).

Thesis (Ph. D.)--University of Missouri-Columbia, 2005. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 17, 2006) Vita. Includes bibliographical references.

Includes bibliography. / This study described the racial attitude development of South African primary school children in three racial groups. The sample consisted of black, white and coloured children from the Cape Town area. The study aimed to examine developmental patterns of own-group preference and out-group prejudice, as well as the efficacy of the Katz- Zalk Projective Prejudice Test (Katz and Zalk, 1976) in the South African context. Children of both sexes were included. Five age-groups were represented; 6 - 7 year olds, 7 - 8 year olds, 9 - 10 year olds, 10 - 11 year olds and 11 - 12 year olds. The instrument, (Katz-Zalk Projective Prejudice Test, Katz and Zalk, 1976) included slides showing black and white children in ambiguous school situations, and a corresponding questionnaire in which the subject indicated which child was the recipient or initiator of the action depicted in the slides. The test was administered to groups of approximately 30 children by a female test administrator of the same race as the subjects. The results from 416 subjects were analysed using a multivariate analysis of variance followed by univariate analyses of variance and Student Newman- Keuls follow up tests. These findings indicated the developmental pattern of own- group preference and out-group prejudice in the sample. Results from the white group showed a distinct trend, characterised by high own-group preference and high out- group prejudice. Both the preference and prejudice declined with age.

No description available.

No description available.

This dissertation examines sound, and its embodied articulation through music and movement, as I consider pivotal ways in which race has been constructed through the history of blackface minstrelsy in the United States. I contend that the racialized sounds developed out of early blackface performance have both persisted and shifted throughout the history of American popular music, even after the disappearance of the blackface mask. I have neologized the concept of Blacksound to denote the racially coded sonic scripts that have developed out of the history of blackface performance. Blacksound refers to the histories and movements of the African American bodies, both real and imagined, on which its performance is based. The concept also suggests the scripting, manipulation, and absorption of these sonic performances by both black and non-black bodies as vehicles for imagining and self-expression, understood in relation to how ideals of citizenship vis-a-vis whiteness developed along the emerging color line throughout the long nineteenth century. Because Blacksound emerges out of the contexts of chattel slavery and minstrelsy, its commodified nature is always central to understanding how it sonically functions within the construction of identity in U.S. history. I examine how the masked receding of the sonic and corporeal tropes of blackface into Blacksound became the basis of contemporary popular sound and central to constructions of civic and racial identity in the United States. This approach is primarily developed through a comparative analysis of sheet music, imagery, and primary and secondary accounts of blackface performance rituals throughout the long nineteenth century.