The purpose of the investigation was to collect information from ninety representative art museums in Europe and North America, with visits made to forty-five and a validated questionnaire sent to the others; to study their research-oriented publications as to contents; and to organize the data so that they would be of value to graduate art students. Although this information will be of value to scholars, undergraduate students, and museum personnel, the study was restricted to the graduate art student because some museum libraries restrict their facilities to this educational level.

The study was conducted to investigate the result of three differential seating arrangements in college classrooms on anxiety level, acquaintance volume, and perceived social distance among students.

The purposes of this study are to identify and describe the function and control of facial muscles as related to sound production on brasswind instruments, to explore electromyographic theory and techniques with particular regard to the function and control of facial muscles, to identify basic theories of embouchure among brasswind teachers and performers, to develop a theory of brasswind embouchure based upon the preceding factors, and to propose recommendations with regard to brasswind pedagogy. Existing theories of embouchure were investigated by reviewing the extensive brasswind pedagogical literature, and by interviewing teachers representing two widely differing views. Electromyographic kinesiology of facial muscles was investigated as follows: a description of facial muscles was formulated by collating anatomy books; related electromyographic literature was reviewed; eloctromyographic recordings of facial muscled during, the performance of various facial muscle tasks and during brasswind performance were made using indwelling fine-wire electrodes. The following fundamental questions were raised: (1) What are the elements of brasswind embouchure, and what is the effect of each upon performance? (2) Is there a single embouchure mode which may be considered most efficient, and if so, what facial muscles are involved, and how may they be trained?