Thesis (Ph. D.)--University of California, Santa Cruz, 1983. / Typescript. Includes bibliographical references (leaves 571-596). Discography: leaves 597-604.

Thesis (M.A.)--Marshall University, 2002. / Title from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).

Thesis (M.A.)--Marshall University, 2002. / Includes bibliographical references (p. 21-23).

No description available.

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Dept. of History) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (Ph. D.)--University of Iowa, 2007. / Thesis supervisor: Jane Desmond. Includes bibliographical references (leaves 206-224).

abstract: The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre. / Dissertation/Thesis / M.A. Music 2011

The purpose of this thesis is to review some of the folk and analytical evaluations concerning the nature and function of the blues tradition. It has been hypothesized that the term "gutbucket" signifies a distinctly negative attitude. This notion has wide-spread acceptance among American blacks as well as whites. The form of musical expression known as the blues has been traditionally regarded as "gutbucket" music. This attitude has resulted from definite misconceptions concerning the cultural, historical and aesthetic meaning of the blues. The primary objective of this research is to investigate the basis for these presumed negative attitudes while either substantiating or refuting the above premise.

Thesis (Ph. D.)--University of Oregon, 2005. / Includes vita and abstract. Includes bibliographical references (leaves 957-975). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis--University of California at Los Angeles. / Vita. Xerox copy of typescript. Ann Arbor, Mich., University Microfilms International, 1977. "Major publications [of the author]": leaves x-xi. Bibliography: leaves 571-594.