The Fine Arts Doctoral Program
Graduates and Dissertations
A storied history
Students in the PhD in Fine Arts at Texas Tech University have been producing innovative and unique dissertation projects for over half a century. Since the first dissertation in 1974, the FADP's nearly 300 dissertations map a network of methodologies, disciplines and subdisciplines, and interdisciplinary approaches that has evolved with changes to the FADP curriculum and with the changing currents in academia and society.
All known dissertation authors, titles, and faculty advisors are listed below by decade. Please contact peter.martens@ttu.edu with additions or emendations.
2020 - Current
| First (middle) Name | Last Name | Dissertation Title | Dissertation Chair | Grad Year |
| Colin | Brown | The Theatre Organ: A Study of a Unique Performance Practice and Musical Culture in the Twenty-first Century | Lauryn Salazar | 2024 |
| Christina | Garland | Intersections: An Investigation of the Michael Chekhov Technique Through the Lens of Laban Movement Analysis | Andrew Gibb | 2024 |
| LyaNisha | Gonzalez | Defying the Crooked Room: An Authoethnographic Study on Playwriting that works toward a Black Womanist Aesthetic in Theatre | Mark Charney | 2024 |
| Hillary | Russell | Narratives of Alienation | Rina Little | 2024 |
| Rahimeh | Shojaei | Her Veiled Voice, An Examination of Women's Vocal Presence in Postrevolutionary Iranian Cinema | Heather Warren-Crow | 2024 |
| Corina | Alvarado | Re-membering a Coyolxauhqui Pedagogy: Creative and Cultural Praxis at the Intersection of Ethnic Studies and Fine Art | Andres Peralta | 2023 |
| Alicia | Caicedo-Cavazos | Health Information in NASM Accredited U.S. University Music Programs: Perceptions among Music Administrators, Piano Faculty, and Piano Students Regarding Available Resources and Assistance | Carla Davis Cash | 2023 |
| Kurt | Cereske | Songs of Many Nations: An Examination of Selected Print Materials and Companion Recordings Published by Cooperative Recreation Service, Inc., 1958-1964 | Susan Brumfield | 2023 |
| Deepika | Dhiman | Using Autoethnography and Visual Storytelling to Examine How Identity is Informed by Social Normative Behavior in India and the United States | Andres Peralta | 2023 |
| Adolfo | Estrada | Ritual and Meaning in the Mariachi Festival Movement of the United States | Lauryn Salazar and Virginia Whealton | 2023 |
| Niloofar | Gholamrezaei | Photographic Images, Distanced Realism, and the State of being Modern in the Works of Mohammad Ghaffari and Otto Dix | Brian Steele and Elize Bisanz | 2023 |
| Justin | Glosson | Analogous Sonic Archetypal Representation: Symbolic Lineage in Syntactic Modal Structures | Angela Mariani Smith | 2023 |
| Evangeline | Jimenez | "Danza Assemblage: Prayerfully Dancing Spiritual & Cultural Mestizaje Identities" | Andrew Gibb | 2023 |
| Kathryn | Kelley | Creatives Engage with Spontaneous Self-affirmation as a Part of Their Writing Practices | David Sears | 2023 |
| Jianyu | Yang | Assessment of the Strength and Weakness of Production Design Platforms in Arts and Entertainment Management | Peter Martens | 2023 |
| Andrea | Bickford | Architecture, Audience Configuration, and Proximity in the Performance of Shakespeare: A Professional Problem | Bill Gelber | 2022 |
| Taylor | Carmona-Akuma | Melodic Contour and Rhythm as Organizing Principles in Schoenberg's Wind Quintet, Op. 26 | Matthew Santa | 2022 |
| Justin | Fulfer | Implications of the Pedagogy of Paul Rolland on the Curriculum Guide of String/Orchestra Programs | Blair Williams | 2022 |
| Christopher | Hepburn | Defining Waka Musically, of Song of Male Love in Pre-modern Japan | Stacey Jocoy | 2022 |
| Jonathon | Peck | The Hero's Journey in Special-needs Parenting: Two Original Playscripts | Mark Charney | 2022 |
| Ahmad | Rafiei Vardanjani | Objects in Motion: Global Interactions and Cross-cultural Exchange from Safavid to Twentieth Century Iran | Kevin Chua | 2022 |
| Stephanie | Rizvi-Stewart | Angels, Saints, and Dancing Masters: The Vernacularization of the Rebec in Fifteenth-century Italy | Angela Mariani Smith | 2022 |
| Susan | Stone-Lawrence | "What It IS!": Negotiating Racial Authenticity from the Black Arts Movement to Post-Black Plays and Beyond | Andrew Gibb | 2022 |
| Norah | Alqabbaa | Globalization and the Role of the Sharjah Biennial in the Transformation of Saudi Contemporary Sculpture | Jorgelina Orfila | 2021 |
| Rebecca | Clark | Marketing Staged Musical Works In Higher Education: An Argument For Audience Engagement | Christopher Smith | 2021 |
| Zachary | Dailey | Constructing Prisms: Regional American Playwriting after the Great Recession (2008-2019) | Andrew Gibb | 2021 |
| Leslie | Gulden | A Stage Full of Trees and Sky: Analyzing representations of Nature on the New York Stage, 1905-2012 | Dorothy Chansky | 2021 |
| Yingze | Huo | The "Strange Affinities": The Figure of Chineseness in Black-themed Cultural Productions, 1850-1930 | Christopher J Smith | 2021 |
| Andrew Kalyowa | Kagumba | Orchestrating Social Competence: On the Transformative Work of Musicking in Two Ugandan NGOs (M-LISADA and Brass for Africa) | Janice Killian | 2021 |
| Roger | Landes | The Sound Continues: "Folkdance-musicking" as Post-nationalist Strategy in European 'Drone' Music Revivals 1975 to Present | Christopher Smith | 2021 |
| Laura | Lennis-Cortés | Teaching the Adult Piano Learner: Two Case Studies of Piano Students who Return to Lessons | Carla Davis Cash | 2021 |
| Kathryn | Mann | Creating "Bridget": An Analysis of Irish Immigrant Woman's Identity in New York's Gilded Age | Christopher J Smith | 2021 |
| Patrick | Midgley | Ghosts Within Ghosts: The Shakespeare Within Eugene O'Neill's Tao House Plays | Mark Charney | 2021 |
| Vallie | Owens | Multicultural Music Education in U.S. Centric International Elementary Schools: An Investigation of World Music Representation within Teacher Repertoire Selections | Jacqueline Henninger | 2021 |
| Hannah | Percival | Can You Hear the Connection? A Study on Musical-social Bonding | Peter Martens | 2021 |
| Kristen | Rogers | "Mediatizing" the Madwoman: An Analysis of the Treatment of Female Mental Illness on Stage and Screen Since the 1940s | Mark Charney | 2021 |
| Collin | Vorbeck | Applying Event Schema Theory to the Evolving Dramaturgies of Dramatic Literature | Andrew Gibb | 2021 |
| Michelle | Weintraub | Do-it-yourself (DIY) Online: Why Making Matters on Pinterest | Andres Peralta | 2021 |
| Kimberly | Wood | Lighting the Way: The Arts as a Tool to Motivate Climate Change Action | Peter Martens | 2021 |
| Alicia | Goodman | Diagnosing Organizational, Financial and Programmatic Dysfuction in a Nonprofit Theatre: A Case Study | Mark Charney | 2020 |
| Erin | Grogan | Uncovering the Voices: Irish Female Playwrights During the Free State Years ; |
Andrew Gibb | 2020 |
| Kunyuan | Guo | Inner Mongolian Folk Music in the 20th Century: A Study | Christopher J Smith | 2020 |
| John | Iverson | Performative Counter-memory: A Foucaultian-based Theory of Dramatic Disclosure Analysis for Verbatim Theatre | Dorothy Chansky | 2020 |
| Rose | Phong | Beyond the Audience: Creating Effective Engagement Strategies for Students on the Spectrum in the Theatre Classroom | Andrew Gibb | 2020 |
| Ashley | Sawatzke | Adaptation, Translation, and Localization: Exploring the Potential of Intralingual Translations | Dorothy Chansky | 2020 |
| Jared | Stanley | Working Through Grief: Continuing Bonds in the New Golden Age of American Television | Heather Warren-Crow | 2020 |
| Jonathan | Verbeten | “Trashy Music” in the Halls: A Cultural-Geographical History of Music Making in San Francisco During the Gold Rush Years (1849-1869) | Christopher J Smith | 2020 |
2010 - 2019
| First (middle) Name | Last Name | Dissertation Title | Dissertation Chair | Grad Year |
| Patrick | Antinone | Music in the Mind's Ear: The Effect of Varied Conditions on Audiation Accuracy | Janice Killian | 2019 |
| Sarai | Brinker | Creating an Arts-integrated Prenatal Education Couse: An Applied Ethnographic Approach to Addressing the Problem of Pre and Post-natal Wellness in High Risk Populations Through the Arts | Angela Mariani Smith | 2019 |
| Katherine | DeVet | SANCTUARY: An Opera in One Act. Analysis and Narrative-memoir of the Collaborative-Compositional Process | Peter Fischer | 2019 |
| Erin | Grogan | Uncovering the Voices: Irish Female Playwrights during the Free State Years | Andrew Gibb | 2019 |
| Candice | Holley | Marian Devotion in Music: Three Settings of the Ave Maris Stella by Selected Composers at the Santissima Annunziata, Florence (17-1900 A.D.) | Angela Mariani Smith | 2019 |
| Kimberly | Jones | Women in Contemporary Israeli Cinema | Constance Cortez | 2019 |
| Shawna | Laity | A Comparative Analysis of Verbalizations used by Rural Band Directors While Teaching Middle School and High School Ensembles | Jacqueline Henninger | 2019 |
| Katharine | Scherff | The Virutal Liturgy: An Examination of Medieval and Early Modern Ritual Objects as Media Technology | Janis Elliott | 2019 |
| Charles | Whitehead | Creating Musical Truth: An Interdisciplinary Application of Selected Elements from KonstantinStanislavski's Acting 'System' to the Classical Pianists Selection, Preparation and Performance of Music for Solo Recital | William Westney | 2019 |
| Jeff. L | Day | Boundaries of Belief: Implications of the Paradox of Fiction on the Multifarious Layers of the Dramatic Narrative Found in Theatre’s Fictional Worl | Mark Charney | 2018 |
| Kenna Renee | Higgins | Shakespeare’s of Our Own Speak: Methods and Acting Adaptations of LDS Actors Major Professor | Jonathan Marks | 2018 |
| Adam Harris | Smith | Mindfulness and the Musician: Case-studies of an 8-week Meditation Class for University Music Students | Carla Cash | 2018 |
| Julie Kaye Ullery | Sorensen | From Pedagogy to Podium: An Analysis of Doctoral Orchestra Conducting Curricula and Their Responsiveness to Entry Level Orchestral Conducting | Peter Martens | 2018 |
| DeRon S. | Williams | Perspective, Power, Potential: An Assessment Study of NAST Accredited Historically Black College and University Theatre Programs | Mark Charney | 2018 |
| Nicholas Andrew | Ewen | I Served Time at the Brown County Jail: Performing the Past and Forming the Future in a Small Town Museum | Bill Gelber | 2017 |
| Jeanne M. | Haggard | The Effects of Power Dynamics and Social Capital on Cultural Services in Mission Viejo, California: A Case Study | Brian Steele | 2017 |
| Ryan P. | Johnson | The Devil We Know: The Evolving Depictions of the Devil in American Theatre, Film and Television, 1980-2017 | Mark Charney | 2017 |
| Jaclyn Francis | Paul | The Impact of Music on Self-concept: The Investigation with Deaf and Hearing Children Using the Twenty Statements Test | Janice Killian | 2017 |
| Dawn Allyson | Schluetz | Writing Cross Cultural Theatre for Children and Youth: A Case Study of Two Original Plays | Bill Gelber | 2017 |
| Lawrence Branco | Sekalegga | Examination of Effective Music Pedagogies in Ugandan Urban, Suburban, and Rural Secondary Schools: An Empirical Study | Janice Killian | 2017 |
| Benjamin McIver | Slate | Dissertation: Daughters of Troy/The Unspoken Scream: Theatre and The Normalization of Wartime Rape | Dorothy Chansky | 2017 |
| Adrian Darnell | Barnes | Recruitment Strategies Employed by Instrumental Music Ensemble Directors at Minority Serving Institutions to Improve Access to Higher Education by Members of Marginalized Populations | Jacqueline Chryar Henninger | 2016 |
| Sherry Randolph | Boyd | Developing a Cohort Blended Curriculum Model (Face-to-Face and Online) for a Master of Arts of Theatre Degree | Jacqueline Chryar Henninger and Andrew Gibb | 2016 |
| Aurelia Gregoria | Rocha | Insights to El Sistema Practices at the Music Learning Center of San Antonio, Texas | Michael Stoune | 2016 |
| Elissa Rae | Stroman | Prescribing, Inscribing, and Negotiating Gilded Age Musical Femininity | Christopher J. Smith | 2016 |
| Laurie Ann Colgrove | Williams | A Comparative Study of Teaching Behaviors of Band and Orchestra Directors in Ensemble Rehearsals | Keith Dye | 2016 |
| Renee Lynne | Wilson | Not Quite Untangled: A Qualitative Study of the Joys and Challenges Experienced by Selected Band Directors | Susan Brumfield | 2016 |
| Kyle Reynolds | Conway | The Gap: Contemporary Playwriting Exercises. | Bill Gelber | 2015 |
| Yuan-Ta | Hsu | Memories and Identities: Hsiang Chou in the Photographic Work of Lang Jing-Shan and Chen Shun-Chu. | Cortez | 2015 |
| Lina Mohammedali A. | Kattan | The Conflicted Living Beings: The Performative Aspect of Female Bodies’ Representations in Saudi Painting and Photography | Brian Steele | 2015 |
| Jing | Liu | An Investigation of Nonmusicians’ Conservation of Melody under Harmonic Deformations | Janice Killian | 2015 |
| Kelley Marie | Poché-Rodriguez | Music Adjudication | Carolyn Cruse | 2015 |
| Bryan Earl | Wheeler | Negotiating Modernity and Identity in the Texas New Deal Post Office Murals | Jorgelina Orfila and Carolyn Tate | 2015 |
| Leuia Lynn | Barrett | Lubbock Symphony Orchestra Education Department Internship during the 2011-2012 Concert Season: An Internship Report. | Michael Stoune | 2014 |
| Gregory Lee | Chambers | The Head of Orpheus: Signification and the Operatic ‘Voice' in Twenty-First-Century Eastern Africa. | Christopher J. Smith | 2014 |
| Shari Watterston | Ellsworth | Directing Lillian Hellman's ‘The Children's Hour' for Today's Society and Its Contemporary Relevance: A Professional Problem Dissertation. | Jim Bush | 2014 |
| Ramirez, Leobardo | Guerrero | A Rediscovery of Ernst Widmer's Kosmos Latinoamerico: An Analysis of its Cross-cultural Influences, Pedagogical Purpose, and Performance Approaches. | Carla Cash | 2014 |
| Justin F | Houser | Reflections: For Interactive Electronics, Dancer, and Variable Instrument. | Peter Fischer | 2014 |
| Troy Mathew | Lescher | Greasepoint Pedagogy: Contemporary Clown Instruction in the United States. | Jonathan Marks | 2014 |
| Jen Anne | McLachlen | Narcissus: A Concerto for Flute and Wind Orchestra: Original Composition and Analysis. | Peter Fischer | 2014 |
| Page Kathryn | Petrucka | Rewriting the Single Woman's Narrative in Two Original Scripts: A Professional Problem. | Norman Bert | 2014 |
| Jeffrey S | Scott | Improvisation in the Theatre: An Intersection between History, Practice, and Chaos Theory. | unknown | 2014 |
| Daniel Singleton | Todd | Bicinia Hungarica: A Theoretical Analysis and Pedagogical Implications for Use in a Kodaly-Inspired American Music Curriculum. | Susan Brumfield | 2014 |
| Charles David | Adamson | Defining the Jukebox Musical Through a Historical Approach: From The Beggar's Opera to Nice Work if You Can Get It. | Bill Gelber | 2013 |
| Candice Lane | Aipperspach | Brundibár: An American Afterlife, 1975-1995. | Tom Cimarusti | 2013 |
| Ian Benjamin | Aipperspach | The Unpublished Choral Music of Ernst Immanuel Erbe (1854-1927). | Tom Cimarusti | 2013 |
| Katy Ann | Ballard | Queens of the South Plains: Collection of Oral Histories of Drag Queens Living and Performing in Lubbock, TX. | Ed Check | 2013 |
| Marla | Britton-Johnson | The effect of Americanization on the dramatic representation of Nazi Aufseherinnen (female camp guards) | Dorothy Chansky | 2013 |
| Luis Raul Gonzalez | Catalan | John K. Moir: An American Organ Builder in Chile (1970-1978) | Michael Stoune | 2013 |
| Teddy A. Rodriguez | Velez | Developing a Multi-cultural Theatre Undergraduate Program for the Commonwealth of Puerto Rico. | Bill Gelber | 2013 |
| Christopher Gary | Bailey | The Pier: Composing and Producing a Song Cycle Music Theatre Work. | Michael Stoune | 2012 |
| Nadia Chandra | Bodie | Cross-Cultural Casting: Case Studies on the Academic Stage. | Jim Bush | 2012 |
| Eun K | Jeong | Collaborative Public Art Making: The Tapestry Project. | Kevin Chua | 2012 |
| Michael Karl | Morelli | Whether and How to Plan a Playwriting Festival. | Dorothy Chansky | 2012 |
| Adam Trey | Shirley | Branding Church: The Role of Corporate Branding Imagery in Mainline Denominations.. | Dennis Fehr | 2012 |
| Edwin M | Smith | How the People Feel: Visual Art and Socio-Political Activity in Bermuda 1959-2009. | Kevin Chua | 2012 |
| Anthony G | Valentine | Acting for the Camera Made Simple: A Pedagogical Methodology for Acting for the Camera Based on a Model of Interpersonal Communication.” | Jim Bush | 2012 |
| Steven Wayne | Wood | Intersection of Theatre, Activism, and Born-Again Christianity: American Evangelical Theatre from 1974 to 2004. | Dorothy Chansky | 2012 |
| James Bernard IV | Berry | All About is Night: Spiritual Anxiety and the Ritual Impulse in World War I Europe. | Christophy J. Smith | 2011 |
| David Jeffrey | Blamy | Carolina Actors Studio Theatre and the Experiential Approach to Production. | Bill Gelber | 2011 |
| Rodney Randall | Donahue | The Principles and Process of Writing the Prequel for the Stage. | Norman Bert | 2011 |
| Orada | Lelanuja | Women and Buddhism in Playwriting: Two Theatre Scripts (A Professional Problem). | Norman Bert | 2011 |
| Bruce Martin | Mackh | The Documentary Aesthetic. | Dennis Fehr | 2011 |
| Arthur Joseph | Polendo | Examining Working Class Chicano Identities in San Antonio and Chicago as Portrayed in The Banner Project by Juan Miguel Ramos, David Botello’s Arte por Vida/Art for Life and The Children of Quetzalcaltl by Ricardo Santos Hernandez. | Ed Check | 2011 |
| Andrea Lee | Riggs | A Comparison of Successful and Less Successful Rehearsal Strategies Utilized in Choral Adjudicated Sight-Singing. | Janice Killian | 2011 |
| Cheng-Shing Eliza | Tsai-Lin | The Possible Influence of Language on Music Performers: Survey for Chinese Speaking Pianists, English Speaking Pianists and Piano Professors. | William Westney and Carla Cash | 2011 |
| Katie Ann. | Wampler | Devising Beauty: A Pedagogy for Devised Theatre. | Bill Gelber | 2011 |
| John Brian Hokulani | Wayman | Preservice Music and Classroom Educators' Predictions of Music Preference Ratings of 3rd, 5th, and 7th Grade Students from Rural, Suburban and Urban Schools. | Janice Killian | 2011 |
| Ginger F.V | Angstadt | Educational Outreach and Theatre Programs: How Selected High School, University and Regional Theatres in the Northeast Generate and Sustain Student Attendance at Theatre Performances. | Jim Bush | 2010 |
| Jason Waltony | Berg | The Dragon King's Daughter: Sinfonietta for Jazz Nonet, String Orchestra and Soprano. | Peter Fischer | 2010 |
| Mickey Dale | Best | Fine Arts Faculty Evaluation Process in Higher Education: Its Value as a Motivator of Teaching Improvement and Lessons for Administrators. | David Williams | 2010 |
| Amanda | Boyaki | Alma Buscher Siedhoff: An Examination of Children's Design and Gender at the Bauhaus During the Weimar Period. | Ed Check | 2010 |
| Joshua D | Britt | Slow Dawn and Sunset Finale: An Original Composition for Concert Band, with Analysis. | Peter Fischer | 2010 |
| Debra Reynolds | Buford | Investigation of Music Literacy Teaching Strategies Among Selected Accomplished Choral Directors in Texas Title I High Schools. | Janice Killian | 2010 |
| Stefan Alexander | Cadra | Fleeting Asterisms: An Original Composition with Analysis. | Peter Fischer | 2010 |
| Yen-An | Chen | The Intersections of Ethics and Spirituality in the Marketplace of the Art Industry: Female Artists' Transmutability and Competitiveness in Taiwan. | Check & Fehr | 2010 |
| Christian Kent | Conrad | It Makes Good Cents: A Personal Examination of Nomadic Studio Methodology. | Erler & Fehr | 2010 |
| Mark Steven | Frandsen | Forecasting Fusion at Low Frequencies: The Bass Players of Weather Report. | Matt Santa | 2010 |
| Bradley Layne | Green | Musicas e Brincadeiras Infantis: A collection of Brazilian Children's Songs and Games with Notes on Ethnography, Musical Style and Pedagogical Application for the American Elementary General Music Classroom. | Susan Brumfield | 2010 |
| Jana Heleben | Jones | Onstage with God: Developing a Bachelor of Fine Arts in Religious Drama Using College of the Ozarks as the Model. | Bill Gelber | 2010 |
| Debra Galloway | Justice | Avoiding Founder's Syndrome in Arts Organizations: Studies in Successful Succession Transitions in Three Established Regional Theatres | Linda Donahue | 2010 |
| Felix Gilroy | Moore | “A model for Technical Theatre Curricula at Historically Black Colleges and Universities: A Professional Problem | Linda Donahue | 2010 |
| Jeffrey Alan | Wells | Marketing Theatre to the Millennial Generation: A Marketing Initiative for Stage Works, A Professional Theatre in Tampa, Florida (A Professional Problem). | Linda Donahue | 2010 |
2000 - 2009
| First (middle) Name | Last Name | Dissertation Title | Dissertation Chair | Grad Year |
| Priscilla Marie. | Anderson | The Feminine Grotesque in the Plays of Pam Gems | Jonathan Marks | 2009 |
| Radhica | Ganapathy | Women's Dramatic Autobiographical Crisis Narratives: An (R) Evolutionary Journey. | Norman Bert | 2009 |
| Amy Lyn | Haggard | Differing Discourses on Art History Philosophical Aesthetics. | Ed Check | 2009 |
| Kyle Stephen | McQuilkin | A Primer on the Aesthetics, Fabrication, and Culture of Lowrider Bicycles in West Texas: Participant Observation through the Lens of a White, Middle Class male, Artist/Educator. | Future Akins-Tillet and Ed Check | 2009 |
| Mickey Dale | Best | Fine Arts Faculty Evaluation Process in Higher Education: Its Value as a Motivator of Teaching Improvement and Lessons for Administrators. | Linda Donahue | 2008 |
| Francisco | Ortega | Games As Cultural Practice: Postcolonial Imaginations. | Check, Fehr, Tedeschi | 2008 |
| Lynda Gayle | Billings | The Fine Arts in Healthcare Development of an Arts-Based Curriculum for the Texas Tech University Health Sciences Center School of Nursing. | Brian Steele | 2007 |
| Terry Michael | Chance | Writing an Original Score for the Oxford Street Players of Lesley University's Production of the Merry Wives of Windsor, Texas: "Shore Know How to Git a Man Down." | Linda Donahue | 2007 |
| Velicia Lee | Daniels | The Selma Stories: Developing a Testimonial Drama about Women of Courage during the Civil Rights Movement. | Bill Gelber | 2007 |
| Keith Ray | West | Theatre of the Mind, Live On Stage: Radio Theatre Production for Theatre Practitioners. | Norman Bert | 2007 |
| Greg Leon | White | Making Myth: Recreating the Celebrity Persona in Playwriting. | Norman Bert | 2007 |
| David L | Wygant | Why Theatre Voice Training Works: Examining The Process Through Psychosynthesis. | Laurin Mann | 2007 |
| Garey Andrew | Hyatt | A Compendium of Promising Practices in Youth Arts Programs: A National Endowment for the Arts Internship Report (2001-2004). | Linda Donahue | 2006 |
| Elizabeh Gayle | Wintour | From Retrospect to Millie's War: Writing a Configurative Play | Norman Bert | 2006 |
| Lisa Kay | Westkaemper | Education and Outreach for Angels in America: Millennium Approaches (A Professional Problem) | Linda Donahue | 2005 |
| Patrick Allen | White | Analyzing a Postmodern Script through Its Mise en Scene: An Approach to Richard Foreman's Paradise Hotel. | Norman Bert | 2005 |
| Michael Bivian | Hannah | The Developing Masculine Image and Its Relationship to Stage Costume in England and France 1660-1830 | Jonathan Marks | 2004 |
| Lin-Han | Lan | Art Educators’ Perceptions of Students of Computer-Aided Design in the U.S. and in Taiwan: Perspectives Necessary for the Design of Programs to Increase Female University Student Willingness to Use Computer-Aided Design Technology for the Arts. | Dennis Fehr | 2004 |
| Po-Hsien | Lin | Art Teachers’ Attitudes Toward and Experience in the Use of Computer Technology to Conform with the Teaching Strategies Stipulated in the 2002 Taiwanese First to Ninth Curriculum Alignment. | Dennis Fehr | 2004 |
| Patrick Clay | Vaughn | Behind the Pine Curtain: Community Theatres of Deep East Texas. | Williams and Donahue | 2004 |
| James Beekman | Bush | The Actor's Makeup: A Psychological Profile of Acting Students. | Jonathan Marks | 2003 |
| Wade John | Fransen | Process Drama and Creative Problem Solving: An Integrated Approach | Elizabeth Homan | 2003 |
| Martie jo | Geiger-Ho | Pathways of Transmission: Investigating the Influence of Chinese Kiln God Worship and Mythology on Kiln God Concepts and Rituals As Observed by American Ceramicists. | Ed Check | 2003 |
| Elizabeth Goñzalez | Leal | The Transformative Power of Art: A Self-Study. | Karen Keifer-Boyd | 2003 |
| James William | Lee | Dalcroze by Any Other Name: Eurythmics in Early Modern Theatre and Dance. | Jonathan Marks | 2003 |
| Hua | Zhang | The Landscape of Solitude: Encountering Images of Contemplation in Western Landscape Painting. | Pheobee Lloyd | 2003 |
| George | Bauer | Perpetual Displacement as a Creative and Critical Strategy of Inquiry into Sites of Meaning. | Karen Keifer-Boyd | 2002 |
| Joyce Michelina | Centofanti | A Single-Subject Multiple Baseline and Feminist Intertextual Deconstruction of Gender Differences Among Kindergartners in Learning the Alphabet Using Clay and a Tactile / Kinesthetic Multiple Intelligence and Montessori Pedagogy. | Karen Keifer-Boyd | 2002 |
| Laurie Ellen | Doyle | Church Drama and Conservative Christianity: Developing A Drama Ministry at Broadway Church of Christ. | Norman Bert | 2002 |
| Kerry Lee | Graves | The Emerging Prominence of Women Choreographers in the American Musical Theatre: A History and Analysis. | Jonathan Marks | 2002 |
| Kiwon | Lee | The Dynamics of Richard Foreman's Theater: Text and Performance | Norman Bert | 2002 |
| Hung-Hui | Lu | A Strategic Planning Model for the Performance Workshop (Taiwan): An Internship Report. | Jonathan Marks | 2002 |
| Shu-lan Miranda | Ni | The Development of a Genre: Pina Bausch and Late Twentieth-Century Dance Theatre. | Jonathan Marks | 2002 |
| Kok Cheow | Yeoh | A Study on the Influence of Computer Usage on Idea Formation in Graphic Design Students. | Dennis Fehr | 2002 |
| Catherine Marie | Jennings | Paintings and the Nuanced Gaze: Studies in the Application, Complication, and Limitations of Psychoanalytic Gaze Theory. | Brian Steele | 2001 |
| Candace Ann Burnside | Keller | Correlating Arts and Reading Instruction for Accelerated Achievement in Emergent Literacy. | John Stinespring | 2001 |
| Leah Michelle | Kraft | A Historical/Legal Analysis and Case Study of a High School Art Classroom as a Least Restrictive Environment for Students Experiencing Disabilities. | Karen Keifer-Boyd | 2001 |
| Karen Ann | Magness-Eubank | Behind the Veil: Revisioning the Gaze in Film & Theatre. | Homan & Nathan | 2001 |
| Katherine | Perrault | Astronomy, Alchemy, and Archetypes: An Integrated View of Shakespeare's A Midsummer Night's Dream. | David Williams | 2001 |
| Mary Ellen | Wright | Adrian Hall's Dramatic Adaptations: A Playwriting Process and Model” | unknown | 2001 |
| Darise Helen | Error | Towards a Holy Commercial Theatre: Betty Buckley—History, Performance and Theory. | Jonathan Marks | 2000 |
| Richard Oliver | McRae | Toward an Understanding of the Beaux Arts Curriculum: A Survey of Six U.S. Sculptors Educated in Beaux Arts Academies in the First Half of the Twentieth Century. | Karen Keifer-Boyd | 2000 |
| Allen Ray | Partridge | Internet Collaboration and Exchange for Theatre (ICE-T): Developing Interactive Network Conferencing Software for Theatrical Collaboration. | Norman Bert | 2000 |
| Shwu-Huoy | Tzou | Cultural-Specific and International Influence on and Critical Perceptions of Five Asian Installation Artists: Gu Wenda, Yanagi Yukinori, Xu Bing, Miyajima Tatsuo, and Choi Jeong-Hwa. | Keifer-Boyd and Brown | 2000 |
| Richard Scott | White | The Painting, The Destruction of Mission San Saba: Document of Service to the King. | Pheobee Lloyd | 2000 |
| Kara Elizabeth. | Wooten | Developing a Course in Stage Combat: A Manual for Instructors and Students. | Lewis | 2000 |
1990 - 1999
| First (middle) Name | Last Name | Dissertation Title | Dissertation Chair | Grad Year |
| Helen Heller | Cogan | Community Standards for Theatrical Productions in a Rural Southwestern County | Linda Donahue | 1999 |
| William Maurice | Doll | The Progress, Development, and Integration of Paul Baker's Integration of Abilities. | Jonathan Marks | 1999 |
| Julia Anne Drinkard | Fox | Student-Perceived Enrollment Motivation and Valuing Three Types of Visual Arts Courses Selected to Fulfill University General Education Requirements. | Karen Keifer-Boyd | 1999 |
| Louise Mallory | Stinespring | Principles of Truthful Acting: A Theoretical Discourse on Sanford Meisner's Practice. | Wilcox and Thomasson | 1999 |
| Roberta Jean Lanese | Walters | Frans Krajeberg: Art in Defense of the Forest. | Carolyn Tate | 1999 |
| Deborah Gail | Martin | Texas Tech University Theatre Season Subscription Campaign: A Marketing Analysis and Plan. | Linda Donahue | 1998 |
| Donald Francis | Hebert | Steele Mackaye: Actor Training Methods. | Richard Weaver | 1997 |
| Joe Bill | Thompson | A Marketing Model for the Texas Tech University Department of Theatre and Dance Graduate Program: A Professional Problem | Richard Weaver | 1997 |
| Ginny Ann | Davis | The Creation of a Strategic Planning Model for Small Not-for-Profit Theatres: An Internship Project. | Richard Weaver | 1996 |
| Jae-wan | Park | The Director's Perception of Text and Actors' Presence: A Professional Problem. | George Sorenson | 1996 |
| Katherine Edrine | Potts | The Use of Masks in the Rehearsal Process: A Professional Problem | Richard Weaver | 1996 |
| Edward John | Simone | Imaginary Forces: Creating Character for the Stage. | Richard Weaver | 1996 |
| Rudolph Valier | Alvarado | A History of Theatre in Lubbock, Texas. | George Sorenson | 1995 |
| Carlos Amaury | Da Silva Silveira | An Exemplary Multicultural Unit of Art Instruction for Use in Elementary Education Curricula Designed to Help Mexican-American Students Develop More Positive Attitudes Toward Different Racial, Ethnic, Cultural and Religious Groups. | Gene Mittler | 1995 |
| Carale Manning | Hill | Light in Her Hands: A Biography of Irene Corey. | George Sorenson | 1995 |
| Bao-Ling. | Hsiao | An Art Course Curriculum for Non-Art Majors to Meet College General Curriculum Requirements in Taiwan. | John Stinespring | 1995 |
| Holle Lynn | Humphries | An Exemplary Unit of Instruction Designed to Introduce Secondary Students to Instructional Content About Computer Art and Discipline-Based Art Education. | Gene Mittler and Beverly Krieger | 1995 |
| David James | LeMaster | Charlie Chaplin and Harpo Marx as Masks of the Commedia dell'Arte: Theory and Practice. | George Sorenson | 1995 |
| Catherine D. Moore | Nodsle | The Impact of Computerized Box Office Systems on Selected Theatres in America. | George Sorenson | 1995 |
| Michael Eugene | Prater | Episodic Memory and Creativity in Drawing. | Richard Weaver | 1995 |
| Julia Lillian | Smith-DeHesus | An Examination and Analysis of Theatre Subscribers at the University of Arizona: Arizona Repertory Theatre. | Richard Weaver | 1995 |
| David Roger | Allen | Training Directors in Communication for the Rehearsal Process: A Pilot Study | Sorenson and Hawkins | 1994 |
| Ruthann Elaine. | Benson | The Use of Mythology and Archetypes in Character Development in an Actor Training Program: A Professional Problem | George Sorenson | 1994 |
| Jean Marie | Fish-Davis | Dissolving the Boundaries: An Interdisciplinary Course Model Designed to Acquaint Community College Students with the Fine Arts and their Interrelationships. | Richard Weaver | 1994 |
| Carl Rudolph | Gombert | Turtle and Lizard Images in Lakota Art: A Case Study in Interpretation. | Johnson and Steele | 1994 |
| Tungshan | Hsieh | The Critical Foundation of American Neo-Expressionism: 1980-1984. | Glen Brown | 1994 |
| Dagne | Olsberg | Freedom, Structure, Freedom: Anne Bogart's Directing Philosophy | George Sorenson | 1994 |
| John Michael | Hardy | Development of Playwriting Theory: Demonstrated in Two Original Playscripts. | Richard Weaver | 1993 |
| Jerry R | Ivins | The Training of Stage Actors in Film/Video Acting Techniques: An Interdisciplinary Approach. | George Sorenson | 1993 |
| Joseph Francis | Klinger | A Methodology for Playwriting | Richard Weaver | 1993 |
| Daniel Keith | Nazworth | A Handbook for Stage Combat. | Richard Weaver | 1993 |
| Victoria Elain | Spangler | Teen Theatre for Prevention: A Model for Addressing Adolescent Risk Issues. | George Sorenson | 1993 |
| Steven Earl | Edwards | Three Original Plays. | Jones | 1992 |
| Dawna | Hamm Walsh | A Discipline-Based Art Education Model for Criticism and Inquiry Directed to Non-Western Art | Moon | 1992 |
| Linda Giss | Linda Donahue | Marketing the Arts to a Multicultural Population. | Richard Weaver | 1992 |
| John Benjamin | Warriner | Performance Training in Musical Theatre: A Professional Problem | George Sorenson | 1992 |
| Pirooz | Aghssa | A Historical and Theoretical Investigation of Self-Dramatized Performance and Its Influence on Aspects of Twentieth Century American Theatre. | George Sorenson | 1991 |
| James G | Cunningham | A Catalog: The Robert L.B. Tobin Collection of Original Scene Designs, 1900-1940. | George Sorenson | 1991 |
| Debra F | Davis | Mime as an Actor Training Technique: A Professional Problem. | George Sorenson | 1991 |
| Kaied Filfil | Hassan | Arabian Nights: Its Background, Its Development as an Original Play, and the Influence of the Nights on English Literature and Drama | George Sorenson | 1991 |
| James P | Ivey | Fred Curchak, Shamanistic Cross-Culturalism: The Development of a Performance Style. | George Sorenson | 1991 |
| Terral S | Lewis | The Utah Shakespearean Festival: Twenty-Five Years in Retrospect. | George Sorenson | 1991 |
| Roberta Jean Lanese | Risso | The Formation of an Oklahoma Shakespearean Festival. | Richard Weaver | 1991 |
| Duff | Serra | The Representation of the Passions and Affections in English Theatre of the Seventeenth and Eighteenth Centuries. | George Sorenson | 1991 |
| Richard D. | Stafford | Play Ownership and the Struggle for Creative Control in Theatrical Productions. | George Sorenson | 1991 |
| Stephen W. | Taft | Strategic Planning in the Arts: A Professional Problem. | Richard Weaver | 1991 |
| Elaine R | Winright | Martin Buber’s I and Thou as Model for Relationship Between Artist and Visual Artwork. | Krieger/Nathan | 1991 |
| Jung-Shin | Yang | A Comparison of Chinese and Western Traditions of Design with a Proposed Model of the Yin-Yang Principle. | John Stinespring | 1991 |
| William A | Campton | An Approach to Art Criticism Designed for Contemporary Sculpture. | Mittler and Krieger | 1990 |
| Ray S | Crawford | Music in the Acting Studio: An Approach to Actor Training. | George Sorenson | 1990 |
| Richard J | Gamble | Managing Change in a Non-profit Corporation: A Professional Problem. | Richard Weaver | 1990 |
| Carol Ann | Hicks | The Creation of a Lubbock Community Theatre. | George Sorenson | 1990 |
1980 - 1989
| First (middle) Name | Last Name | Dissertation Title | Dissertation Chair | Grad Year |
| Linda C | Kennedy | Guided Imagery Concepts Applied to Esteem Enhancement in Classroom Settings to Improve Studio Art Products. | Moon | 1989 |
| Adonia D | Placette | Spalding Gray: The Humorist and His 'Method. | George Sorenson | 1989 |
| Marti R | Runnels | Lee Breuer and His Cross-Cultural American Classicism | George Sorenson | 1989 |
| Kathleen J | Sprague | The Haverstock Family Tent Show. | Cliff Ashby | 1989 |
| John A | Stinespring | Development of an Instrument for Identification of Artistic Talent in Black Students Using ‘Tactuality’ to Overcome Test Bias. | Gene Mittler | 1989 |
| Cole H | Welter | A Discipline-Based Art Education Curriculum for the Liberal Arts College. | Moon | 1989 |
| Lynda C. | Blain | The Shakespeare Festival of Dallas: An Internship Report. | Richard Weaver | 1988 |
| Stanley S. | Norman | A Systems Analysis of Southwest Theatre Association: An Internship | Richard Weaver | 1988 |
| Ellie B | Caston | A Model for Teaching in a Museum Setting Using Art Education and Art Appreciation as the Education and Subject Area Components. | Moon | 1987 |
| Thomas L | Colwin | Magic, Trick-Work, and Illusion in the Vampire Plays. | Forrest Newlin | 1987 |
| David W | Crawford | The Development of a Playwriting Philosophy as Demonstrated in the Writing of a Full-Length Script. | Richard Weaver | 1987 |
| Morris R | Ellis | A Catalog: The Robert L.B. Tobin Collection: Scene Designs: 16th through 19th Centuries. | Forrest Newlin | 1987 |
| Brent L | Fleming | Theatre Management Procedures: An Operations Manual for the Cultural Center Theatres in Taiwan, The Republic of China. | Forrest Newlin | 1987 |
| Kathryn D. | Robinson | Fine Arts Education at Louisiana Tech University: A Systems Analysis | Richard Weaver | 1987 |
| Donald W | Seay | Sponsored Project Funding: The Development of the Center for the Advancement of Professional Theatre Training and Applied Research at Texas Tech University. | Richard Weaver | 1987 |
| Caludia A | Beach | Henry Greenwall: Theatre Manager. | Cliff Ashby | 1986 |
| Rudolph | Davis | Current Practices in Art for the Elementary Teacher Preparation in Accredited Historically Black Colleges and Universities in the South. | W. Reid Hastie | 1986 |
| Carol A | Fleming | Promoting University/College Theatre in Rural Areas: Program Analysis and Consumer Oriented Planning. | Richard Weaver | 1986 |
| Richard J | Herman | Joseph Chaikin: Thematic Investigations of Life and Death. | George Sorenson | 1986 |
| Richard E | Holcomb | New Stagecraft Principles Applied to Two Musical Comedy Costume Designs of Miles White. | Gerlach | 1986 |
| Esther S. | Lichti | Richard Schechner and the Performances Group: A Study of Acting Technique and Methodology | Richard Weaver | 1986 |
| Steven J | Peters | Modern to Postmodern Acting and Directing: A Historical Perspective | George Sorenson | 1986 |
| Mary E | Swofford | Adapting Athletic Recruiting Practices to the Recruitment of Students for the Fine Arts Program at Incarnate Word College—An Internship | Richard Weaver | 1986 |
| Ronny | Hubbard | The Expectation of Structure: A Proposal for New Plays. | George Sorenson | 1985 |
| Mary Anne | Mitchell | The Development of the Mask as a Critical Tool for an Examination of Character and Performer Action. | George Sorenson | 1985 |
| Roland W | Myers | A Translation and Critical Analysis of the Letters of Mikhail Semyonovich Shchepkin. | George Sorenson | 1985 |
| Frances W | Scott | C.S. Peirce’s System of Science and an Application to the Visual Arts. | Ketner | 1985 |
| Donald Gene | Bristow | A Descriptive Catalogue of the Elmer Rice Collection at the University of Texas. | Richard Weaver | 1984 |
| Dale Lynn | Hearth | Marketing the Performing Arts: The Joffrey Ballet's 25th Anniversary Season. | Richard Weaver | 1984 |
| Paul John | Hustoles | Musical Theatre Directing: A Generic Approach. | George Sorenson | 1984 |
| Jerry Duvan | Cotton | Sam Shepard's Theatre of Fragmentation: A Performance Theory | George Sorenson | 1983 |
| Stanley G | Jacobs | Instructor Ratings of Art and Music Students at Midland College Using Giftedness Indices. | Moon | 1983 |
| Marie Mavis | McCluskey | Golden Wings, Flowers and Other Magical Things: A Phenomenological Concept of Criticism and a Musical Play. | George Sorenson | 1983 |
| Tokuroh | Arimitsu | The Suzuki Method of Instruction Applied to Art Education for Young Children in America. | Moon | 1982 |
| Jack Legget Jr | Bilbo | Economy and Culture: The Boom-and-Bust Theatres of Pensacola, Florida, 1821-1917. | Cliff Ashby | 1982 |
| Nancy Lee | Boone | A Holistic Model for Learning in Art. | Moon | 1982 |
| Cynthia G | Broderick | Development of a Cultural Patterning Workshop Model through Art Education and Anthropology. | Clarence Kincaid | 1982 |
| Arden Walter | Richard Weaver | A Look at the State Designs of Peter Larkin Through a System of Critical Analysis. | Forrest Newlin | 1982 |
| Patrick C. | Rucker | Ben Iden Payne and the Development of the Modified Elizabethan Stage | George Sorenson | 1982 |
| Michael Phillip | Bautista | Ten Years of Stage Design at the Met (1966-1976). | Forrest Newlin | 1981 |
| Mona Rebecca | Brooks | The Development of American Theatre Management Practices Between 1830 and 1896. | Richard Weaver | 1981 |
| Jack Arnold | Favre | Aesthetic Experience: As a Perceptual Process and Theory of Learning in Art. | W. Reid Hastie | 1981 |
| Kevin Lee | Graves | A Managerial Analysis and Guide for Production Programs as a Part of Educational Curricula in Divisions of Fine Arts at Small Private Colleges in America. | Richard Weaver | 1981 |
| Jerry Lavern | Martin | Henry L. Brunk and Brunk's Comedians: Tent Repertoire Empire of the Southwest. | George Sorenson | 1981 |
| Billy Jack | Moore | A Rationale and Model for Teaching a Differentiated Art Curriculum to Artistically Gifted and Talented Students. | Clarence Kincaid | 1981 |
| Cynthia Lynn Melby | Phaneuf | Ensemble: A Process of Actor Training. | George Sorenson | 1981 |
| Douglas Matthew | Cummins | Management by Objectives in Community Theatre: An Internship Report. | Richard Weaver | 1980 |
| Edward Don | David Williams | Texas: A Model for Success. | Cliff Ashby | 1980 |
| Leona M | Zastrow | Santa Clara Pueblo Art Education Curriculum Design. | Bill Lockhart | 1980 |
1979 & Before
| First (middle) Name | Last Name | Dissertation Title | Dissertation Chair | Grad Year |
| Richard Fortune | Butler | An Application of Management Concepts for Educational Theatre Operations at the University Theatre Center, Sam Houston State University. | Richard Weaver | 1979 |
| Cynthia Patty Weller | Cwalinski | Personality Characteristics and Instructional Media Preferences of the Two-Dimensional and Three-Dimensional Artist. | W. Reid Hastie | 1979 |
| Joseph Richard | Waite | Pioneer of ‘The Ten-Twenty-Thirty' Repertory | George Sorenson | 1979 |
| Edna Janet | Garte | An Exploration of Some Uses of Television to Convey the Concept of Intuitive Awareness in Modern Art | W. Reid Hastie | 1978 |
| Halide | Salam | Historical Survey of the Textiles of Bangladesh as a Basis for a Textile Design and Research Centre. | W. Reid Hastie | 1977 |
| Julia Marie Lupfer | Walther | The Development of a Program in Ethnic Art Appreciation for Teacher Education. | W. Reid Hastie | 1977 |
| Robert Carlton | Osborne | A Regional Arts Council for Southeast Texas. | W. Reid Hastie | 1976 |
| Marvin Roger | Platten | The Effects of a Museum Esthetic Education Program on Self Concept, Selected Attitudes and School Absences of Elementary School Children. | W. Reid Hastie | 1976 |
| Charles Andrew | Stewart | An Assessment of the Attitudes of State Arts Councils and the News Media Concerning Arts News | Clarence Kincaid | 1974 |
Department of Interdisciplinary Arts
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Address
School of Theatre & Dance Building | Box 45060 | 2812 18th Street STE 222 | Lubbock TX 79409 -
Phone
806.742.0700