During the first half of this century, a wealth of anthem literature was published and performed in the United States that, as a result of the deluge of new publications since those years, has been either forgotten or is unknown to modern church musicians. The purpose of this study is to make the best of this music known, for much of it is still both suitable and desirable for contemporary worship. The research is grouped into six chapters that are entitled: The Quartet Anthem, "Anthems in the Anglican Tradition," "Prominent Choral Ensembles and the Dissemination of the Anthem," "Anthems by Prominent Music Educators," "Anthems in the Russian Style," and "The Negro Spiritual."

Student performances program book from the 2008-2009 school year at the University of North Texas College of Music.

Fall/spring performances program book from the 2009-2010 school year at the University of North Texas College of Music.

Fall/spring performances program book from the 2009-2010 school year at the University of North Texas College of Music.

Student performances program book from the 2009-2010 school year at the University of North Texas College of Music.

Student performances program book from the 2009-2010 school year at the University of North Texas College of Music.

Student performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Student performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Student performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Student performances program book from the 2011-2012 school year at the University of North Texas College of Music.

Student performances program book from the 2011-2012 school year at the University of North Texas College of Music.

Student performances program book from the 2011-2012 school year at the University of North Texas College of Music.

This study's purpose was to examine and compare pedagogical opinions and suggestions regarding teaching American art-songs recommended as suitable for beginning voice students. Specific problems were to determine 1. The ten American art-songs most recommended by voice teachers for beginning students, 2. Pedagogical opinions and suggestions about these art-songs, 3. Voice teachers' general opinions and suggestions regarding teaching American artsong, 4. Ways in which their opinions and suggestions were similar and 5. Ways in which their opinions and suggestions were dissimiliar.

The purpose of this study was to ascertain what competencies professional accompanists and accompanying teachers deem sufficiently important to be included at some point in the development of a professional accompanist. Research problems were formulated to determine what differences exist between opinions of teachers and professionals regarding necessary skills in preparation of accompanists in (1) pianistic skills, (2) accompanying skills, (3) vocal skills, (4) linguistic skills, (5) knowledge of repertoire, (6) understandings in human relationships, and (7) other competencies. Data were collected by means of a validated questionnaire containing items grouped into the seven categories listed above. It was sent to twenty professional accompanists and thirty-one schools offering accompanying degrees. Seventy per cent of the professionals and 84 per cent of the schools responded. Each competency was rated first for its relative importance to a professional accompanist and then for its appropriate place in the sequence of an accompanist's preparation. A chi square comparison of responses of the two groups regarding the importance of each competency showed virtually no significant differences. Responses on appropriate stages of training were not treated statistically.

Lecture presented at the UNT College of Music Organ Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music Organ Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music Organ Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music Organ Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music M253 in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the NTSU School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.