Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 136-139). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 136-139). Also available on the Internet.

This thesis explores how musical recordings circulate within various sites of metacultural analysis, such as print music publications, music blogs, community-based campus radio music programmes and music podcasts. Drawing on theories about cultural production, the circulation of cultural objects, and metaculture (circulation of ideas about cultural objects, rather than the objects themselves), the author traces how an independent record label discursively positions musical recordings for movement towards and within these meaning-making spheres. Print music publications and music blogs facilitate recognition and consecration of recordings in different capacities, particularly in relation to music publicity. Community-based campus (c/c) radio and music podcasts situate recordings within new cultural objects--radio texts--that engage with listeners in different ways. In this manner, all sites are stakeholders in shaping the meaning of a musical recording and propel its actual and metacultural circulation along various trajectories. / Cette thèse explore comment les enregistrements musicaux circulent à travers différents lieuxd'analyse métaculturelle, comme les publications imprimées traitant de musique, les bloguesmusicaux, les émissions de musique des radios communautaires et universitaires ainsi que lesbaladodiffusions musicales. Basé sur les théories de la création de la culture, de latransmission des objets culturels et métaculturel (la circulation d'idées à propos d'objetsculturels plutôt qu'à propos des objets eux-mêmes), l'auteur démontre les méthodesdiscursivement employées par une étiquette indépendante afin d'encourager le mouvement deses enregistrements musicaux au sein de ces sphères créatrices de sens. Les publicationsimprimées et les blogues musicaux facilitent la reconnaissance et la consécration desenregistrements musicaux, notamment à travers la promotion de la musique. Les radioscommunautaires et universitaires ainsi que les baladodiffusions musicales placent cesenregistrements à l'intérieur d'un nouvel objet culturel- le contenu radiophonique -lesquelsattirent l'attention de l'auditoire de différentes façons. Ainsi, tous ces environnementscontribuent à donner un sens à l'enregistrement musical et à le propulser, au sens propre et ausens métaculturel, vers ses trajectoires variées.

The following thesis explores the conditions of possibility for remix culture through the work of Paul D. Miller, a.k.a. Dj Spooky that Subliminal Kid. Beginning with the impact and vertigo of Dj Spooky's language and practice, it explores the reciprocal relation of media to language in the construction of the proper (property) and the author (authority). The context of Dj Spooky as a conceptual artist and the material of his book, Rhythm Science , provides the setting and scenario for extended readings of the paradoxes and cultural effects of remix culture, including the relation of writing to djing, practices of incorporative media, tactics of digital email, combat over copyright, and the sampling of the archive. The formalization of these effects is outlined by writing in-between the theories of Gilles Deleuze and Jacques Derrida. This formalization signals the advent of the network over the territory, the form over the content, the formal over the expressive (while nonetheless recognising the distinction, persistence and difference of these terms). It argues that remix culture regenerates and redefines the parameters of the author and the proper through technological and political forces that nonetheless retain their structures of power. The conduit and context of this formal, paradoxical transformation are the cultural forces of global and digital networks, which is here defined as the "oceanic network."

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / 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 February 20, 2008) Vita. Includes bibliographical references.

Thesis (M.S.)--Kutztown University, 1992. / Source: Masters Abstracts International, Volume: 45-06, page: 2709. Typescript. Includes bibliographical references (p. 31-32).

Thesis--Auburn University, 2007. / Abstract. Vita. Includes bibliographic references (p.47-51).

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Typescript. Includes bibliographical references (leaf 20).

Thesis (Ed. D.)--Teachers College, Columbia University, 1986. / Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Stephen Kerr. Bibliography: leaf 40.

Thesis (M. Phil.)--University of Hong Kong, 1999. / Includes bibliographical references (p. 309-318) and discography (p.318-320).