The first of any formal education in music that can be found from the records or from the memories of those who were present at the time was the singing school. One ranch in the Blair community has files in which records were found of all import ant events of the school and community life. These files relate the coming of the singing school regularly every summer. Shaped notes were taught front hymn books. At the end of the course, a certificate was given to those who graduated. The teacher of the school then moved on to the next engagement.

Th study of two-piano music was prompted by an active interest in that field and a recognized need for a knowledge of its literature on the part of the writer, who, for the past five years, has devoted most of her time to two-piano work. After careful investigation it becomes apparent that no other study similar to this has yet been made, and it is hoped that it may be helpful to others with interests in common. Much remains to be done and further study would prove profitable. More information might be gained from interviews with prominent duo-pianists, as well as from examination of foreign catalogues and of recital programs given in Carnegie Hall, Town Hall, and similar music centers.

The subsequent study is an outgrowth of observations made during a year spent in secondary voice teaching on the college level. For the purpose of working toward a more effective and efficient secondary voice program, the following material is presented. The first part of the study is a critical analysis and comparison of six methods of voice teaching designed for, or adaptable to, class voice teaching. The second part of the study is a suggested plan for teaching secondary voice in classes, including an outline of material which could be used.

Five French organ composers, representative of the period from Widor to the present time, are identified in this study, and a comparative analysis of the works of each is made. The introduction includes the source of the data, the scope of the problem, the purpose of the study, the method of procedure, a brief historical background of the new French school of music, general characteristics of modern French music, and specific idioms of contemporary French organ composers, as exemplified in the works of the organists selected: Charles Marie Widor, Louis Vierne, Charles Tournemire, Marcel Dupre, and Joseph Bonnet. The compositions and musical contributions of Widor, Vierne, Tournemire, Dupre, and Bonnet, respectively, are discussed in Chapter II through Chapter VI. Chapter VII states a summary of the study and the conclusions drawn,

The purpose of this survey is to evaluate the contribution that the Westminster Choir movement has made to choral music in the United States today. It is hoped after the contributions have been stated by the investigator that the important position Westminster Choir College is occupying will be better understood.

A study of the carol form immediately leads into the field of the hymn; each is a form of praise or worship. The hymn is as instinctive as life itself, and as universal as the air man breathes. Hymns to the sun god, to the many Babylonian deities, to the Great Spirit of the American Indian - these are found, along with others in all ancient literature.

There are no figures available, but if a survey were made, possibly more people would be found engaged in the study and teaching of piano than any other musical instrument. It is much to be desired for both teachers and students to have an intimate acquaintance with the principles underlying the structure of modern piano technique. The situation as it generally exists contrasts sharply with the ideal situation. The ignorance of this important phase of piano study causes an enormous annual waste of time and money on the part of students. With an adequate technical knowledge, teachers, instead of allowing their pupils to practice blindly and mechanically, would be able to explain the reason for each movement they ask them to perform. Many failures in both classes occur because of the lack of understanding of what piano playing requires.

The purpose of this study is to set forth certain principals or rules, Which, if adhered to, will be a beginning in the training of the young musician who would make the playing of dance music his profession. Be it understood that this is only an embryonic work and as such it should not be considered a final and irrevocable treatise on this topic. Actual work and development in this field will probably see many of the practices recommended herein relegated to a less important stage while items not mentioned, or perhaps mentioned and treated without undue stress, may come to the foreground of importance. It is hoped that this work will help in paving the way for a sincere and unprejudiced program of training for the young dance musician. However, before venturing into any discussion concerning dance music, it is necessary to have a clear understanding as to what fields of music are included in the term dance music.

When a particular phase of music theory is omitted from the contents of a treatise or textbook on that subject, the omission can usually be ascribed to one of two causes. Either the omitted phase is of little importance or it is not used in the music of the period on which the treatise or textbook is based. It is the purpose of this research study to discuss a particular phase of music theory that has been omitted or avoided by numerous counterpoint and theory textbook authors. The material in the contents of this work is based on a discussion of the melodic use of the augmented second in the music of the eighteenth century.

An important and unending responsibility of the music teacher is the competent evaluation of available basic text-series. It seems obvious that before any text-series, or any single book, is adopted for use in the public school music classes, a process of assessing the available series or single volumes should precede the final decision and purchase. Since a thorough search in music education literature has failed to reveal any set of formal rules of analysis, the writer has thought it possible to use those general principles recommended by two authoritative sources, The Psychology of School Music Teaching by Mursell and Glenn, and Music in the Grade Schools by Gehrkens in collaboration with personal ideas obtained from professional study of music teaching and experience as a music teacher.

Mainly, the purpose of this work is to give the brass instrument player a more thorough understanding of how to improve the many factors which combine to make up his technique as a whole; also, to give the brass instrument player a more thorough understanding of the construction and history of his instrument, as well as a list of books which can be useful in developing specific phases of brass instrument playing. In other words, this book is intended to be a help to all brass instrument players who want to learn more about their instrument as well as to improve on it.

The problem of the investigator is the compilation of an exhaustive list of art songs other than those dealing with subjects of a romantic or religious nature.

It has been the purpose of this study to examine representative beginning piano methods, as found available in published form, and to compare and evaluate them according to musical, psychological, physical, and educational standards.

After teaching music in several high schools for a number of years, and observing the lack of continuity in assembly programs, the writer became interested in developing a program of music which would more adequately function in the high school assembly.

This study of Verdi's choral style in the Manzoni Requiem includes an investigation of the bibliography pertaining to the subject, and a detailed study of the score to determine and verify the characteristics of each stylistic component, tabulating statistical material and listing examples demonstrating the various characteristics.

The music of Bach becomes much more understandable through an examination of the composers who work before him. An examination of the music of the pre-Bach composers proves it to be amazingly fresh and vital, and it was in this field that Back sought inspiration.

A study of the causes and remedial treatment of inaccurate singing through experimentation and research was chosen by the writer as a practical problem urgently in need of solution.

It is the purpose of this thesis to discuss and compare the canzoni of Frescobaldi and Froberger and to show something of their influences on their successors.

The findings of this study should prove to be a boon to all those who enjoy performing madrigals, for through the cooperation of the leading music publishing houses in this country, a complete authoritative list of fine madrigals has been gathered. Many of these will be new both to the performers and the public.

This study attempt to analyze the style Albéniz, especially as expressed in Iberia Suite. As with all composers, his particular style is created out of his own combining and recombining the principal elements of music, arranging them in a certain way to suit his needs and taste. The musical elements are: rhythm, melody, and harmony. The study is organized in ten chapters.

It is the author's purpose, after a thorough study of published theory books, to present a proposed textbook in music theory to meet the needs of the average high school student.

The purpose of the following study is to make an analysis of the structural elements and stylistic characteristics in the Second Concerto for Violin by the modern Russian composer, Serge Prokofieff. These include the composer's treatment of form, melody, rhythm, harmony, and medium of expression.

It is the purpose of this thesis to determine the comparative differences and similarities of the accompanied violin sonatas of the two contemporary eighteenth-century composers, Johann Sebastian Bach and George Frederick Handel.

In this bibliography an attempt has been made to furnish references to teachers that may assist them to develop in the students: (1) an attitude of friendly interest which will help to link the Americas in mutual respect and to promote a better understanding of problems to be met; (2) to gain an understanding and appreciation of the background of South American culture of today; (3) to become familiar with the folk music as well as the concert, both vocal and instrumental.