Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 87-96). Also available on the Internet.

Thesis (Ph. D.)--Michigan State University. Dept. of Music Education, 2008. / Title from PDF t.p. (viewed Sept. 9, 2009). Includes bibliographical references (p. 317-334). Also issued in print.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (EdD)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Priscilla Lund. Includes bibliographical references (leaves 140-146).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Description based on microfiche version record. Includes bibliographical references (leaves [41]-42).

The thesis deals with Singing and music society Vítězslav Novák in Rakovnik. Main aim of my text is to provide a high quality monograph discussing almost one hundred years long tradition of said society, as well as its other two very important branches, The Rakovnik Opera and The Rakovnik Philharmonic Orchestra. For a duty of the thesis I have carefully studied Singing and music society collection placed in The National Regional Archive in Rakovník. Furthermore, I read a literature arguing legislative rules of societies. Also, I examined sources linked to cultural and historical issues of the city. The thesis is divided in following parts. Firstly, I wrote about history and activities of the society over the time of its existence in the city. Next chapters in precise refer to particular activities of the society including an introduction of its most important characters. Last but not least, I discuss the Rakovnik Opera, which is nowadays in the city even more remembered and significant than the society itself. The single chapter is dedicated to The Rakovnik Philharmonic Orchestra, too. It had been subsequently involved to The Rakovnik Opera, though.

This dissertation highlights the importance of vocal registration/production in the ongoing discussion of how the material qualities of the singing voice transmit socially constructed meaning. Using the modern-day countertenor as an example, I show how falsetto singing can act as a marker for gender/sexuality. The first chapter of the project explains the anatomy and physiology of the singing voice, particularly as it applies to the falsetto register and the contemporary countertenor. Then, a brief look at how singing and gender fit within the burgeoning field of voice studies ensues. Chapter 2 inspects theories of vocal gender, identity, and sexuality in regards to vocal embodiment and applies them to the voice, singing, and the contemporary countertenor. Chapter 3 looks at the reception theories of Hans Robert Jauss and Wolfgang Iser in order to pinpoint ways in which social norms can be inscribed on the voice, especially that of the countertenor Klaus Nomi. The last three chapters apply the theories purported in the first half of the dissertation to the contemporary countertenor in three countries–the United States, England, and Japan. Examining the use and appreciation of the countertenor in these different societies provides examples of how the falsetto register, singing, and norms of gender/sexuality are connected in the different social contexts. The epilogue projects how this type of academic inquiry can extend to other types of singing and societies.

This thesis explores connections between British amateur singers and black South African choral music that, over the past fifty years, have grown in strength and significance. By concentrating on a set of representative case studies, it investigates how and why this music is learned, performed and rehearsed within a variety of choirs and ensembles of different styles and experiences. In addition, the thesis focuses on certain songs that have become popular within specific choral contexts, and discusses the reasoning behind their enthusiastic reception and attractive power. My approach is ethnographical, and the material I present is taken from my own participant-observations of choir rehearsals, workshops and performances, as well as from interviews I conducted with choir members and leaders. On a theoretical level, this thesis engages critically with ethnomusicological and anthropological debates surrounding cultural appropriation. Particularly pertinent to each chapter are discussions concerning authenticity, cultural authority and power relations, and I explore the politics and logistics that are associated with British singers’ encounters with black South African choral music. By discussing critically these different levels of encounter and engagement, I offer some new and intriguing standpoints from which to consider existing debates surrounding cultural appropriation and, in so doing, suggest approaches for theorising cross-cultural encounters through a more nuanced postcolonial lens.