Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2007. / Abstract. Includes bibliographical references (leaves 74-76).

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 57-60).

Thesis (M.M.)--The University of North Carolina at Greensboro, 2008. / Directed by Mark Engebretson; submitted to the School of Music. Title from PDF t.p. (viewed Aug. 27, 2009). Includes bibliographical references (p. 30-31).

Thesis (D.M.A.)--UCLA, 2009. / Program notes in English; song texts in Korean with English translation. Vita. Description based on print version record. Includes bibliographical references.

Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 141-144).

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Timothy Hoekman, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-17-07). Document formatted into pages; contains 81 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 57-60).

Thesis (D.Mus. Arts)--University of Washington, 1987. / Vita. Bibliography: leaves [202]-204.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2007. / Abstract. Includes bibliographical references (leaves 74-76).

Orientador: Paulo Augusto Castanha / Banca: Vitor Gabriel de Araújo / Banca: Mônica Lucas / Resumo: Esta pesquisa tem como objetivo traçar um panorama da prática interpretativa ligada ao repertório vocal que existiu no Brasil entre 1730 e 1850, sob o ponto de vista das mudanças estéticas e funcionais que esse gênero musical tem sofrido desde suas primeiras execuções na década de 1950. A partir do levantamento por amostragem de registros fonográficos brasileiros realizados entre 1957 e 2005, organizado em discografia e listas, localizamos e comparamos por meio de fichas obras que foram gravadas mais de uma vez por diferentes intérpretes e em épocas distintas. Essa comparação nos revelou uma diversidade de soluções de ordem prática e interpretativa que tem sido adotada por músicos brasileiros para a execução de um repertório que durante décadas foi considerado desconhecido. A escassez de referências histórico-musicais, indispensáveis para uma melhor compreensão da música setecentista e oitocentista, dificulta a prática interpretativa desse repertório e uma tradição musical que se perdeu ao longo do tempo faz com que não exista consenso entre as diferentes gravações de uma mesma obra. Este trabalho conclui que não existe uma escola de interpretação da música praticada no Brasil entre 1730 e 1850, e que nos últimos 50 anos, por opção ou desconhecimento, cada músico tem adotado soluções particulares de acordo com sua realidade musical disponível. / Abstract: This study has as its objective the mapping out of a panorama of interpretative practice linked to the vocal repertoire, which existed in Brazil between 1730 and 1850, as it relates to the aesthetic and functional changes that this music has undergone since its first performances in the 1950's. From the survey carried out with Brazilian recordings done between 1957 and 2005, which have been organized in the discography and repertoire lists, we located and compared those that have been recorded more than once, by different interpreters and at distinct periods of time. This comparison disclosed a variety of solutions, both practical and performatic, which were adopted by Brazilian musicians to perform this repertoire, considered unknown for decades. The scarcity of historic and musical references, as indispensable as they are for the best understanding of the music of the 18th and 19th centuries, makes the interpretative practice of this repertoire more difficult, added to the loss of the musical tradition through time. For these reasons, there does not exist a consensus between the different recordings of the same piece. We conclude that a specific school of musical practice in Brazil between 1730 and 1850 does not exist and that in the last fifty years, as a result of their own option or out of ignorance, each musician or musical group has adopted his own particular solutions in accordance with the musical reality available. / Mestre