The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.

Although much has been written on the subject of conducting, it is generally recognized that a great deal can be learned through discussion with and observation of successful conductors. Direct contact with master conductors is an excellent learning tool, but seldom do high school or college choral conductors have the opportunity for direct individual study of the experts in their normal situations. This study provided the opportunity for one practitioner to work with two expert choral conductors. The report was written with the hope that other practitioners might also benefit from the results of the investigation. The purpose of this study was to identify and compare preparations and experiences, philosophies of music, and observable choral concepts which may have contributed to the superior choral achievements of B. R. Henson and Lloyd Pfautsch.

The purpose of this study was to compare major theories of laryngeal vibration. The basic hypothesis of the study was that the differences and similarities between the major theories of laryngeal vibration could be made evident and clear through a comparative study. It was assumed that there are two or more theories of laryngeal vibration and that all the major theories of laryngeal vibration from 1945 to the present have been described in written form in English.

The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.

The lecture was given on April 23, 1979. The discussion consisted of an exploration of the history and derivation of the Baroque idiomatic technique for trumpet to which Handel was heir. Consideration for Baroque performance practice is included along with stylistic and formal analyses of the trumpet arias that were performed. Four works were rendered; they were selected on the basis of their adaptability to the recital situation. The first recital was presented on April 24, 1970, and included solo works of Giuseppe Torelli, Geoffrey Robbins, Marcel Poot, Halsey Stevens, and Fanfares Liturgiques by Henri Tomasi which featured Mr. Morley as conductor of a sixteen member brass choir. The second recital, on February 18, 1971, featured solo works by von Oskar Bohme, Roger Goeb, Robert Weast, Merrill Ellis, and the Septet fur Biasinstrumente by Paul Hindemith. The third recital included solo works of Paul Hinderoith, Kent Kennan, Georges Enesco, and Marcel Bitsch, and was presented on August 16, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

The purpose of this study was to prepare music theory textbook-workbooks for students of elementary school grades four through eight who are taking private music lessons in voice, piano, or other instruments. The study was prompted by the action taken first by Texas Music Teachers Association and later by Music Teachers National Association which made the passing of comprehensive music theory examinations a prerequisite for entering all student performance and contest events sponsored by these associations.