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

Lecture Recital presented at the UNT School of Music Main Auditorium in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

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

This dissertation is a study of the styles shown in Reubke's The 94th Psalm. As a student of Hermann Bonicke, Theodor Kullak, and Adolf Marx, Reubke was trained in the masters of the Baroque and Classical traditions. Written after his study with Franz Liszt in the newer style, The 94th Psalm is a crystallization of these various influences into his own personal style, a remarkable achievement at age twenty three. It is a synthesis of two different styles of organ music at the time; the traditional and conservative represented by Mendelssohn and Schumann, and the progressive by Liszt. Reubke's unique approach to the sonata fomi in the "double function" unified three individual movements into one musical entity by the use of the cyclic theme. The harmony and the tonality are advanced and anticipate the late nineteenth-century style. As the first programmatic organ music in the nineteenth century, The 94th Psalm is an idiomatic organ work which employed the virtuoso piano technique of the time. In spite of Reubke's young age, The 94th Psalm demonstrates his great maturity. His wish to express himself is realized in the work in profound depth and imagination. Through the psalm text he poured out his …

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

The purpose of the study was to investigate the relationship between Western and Thai music objectives in the undergraduate music programs of selected Thai universities and colleges. The data were collected from two sources: (1) an investigation of university music catalogs and syllabi for potential conflict areas in Western and Thai music objectives, and (2) questionnaire responses from university music teachers regarding their opinions about those potential conflict areas found from reviewing catalogs and syllabi. The dissertation is organized into six chapters: the introduction in Chapter I; the synthesis of related literature and background information regarding music study in higher education in Thailand in Chapter II; the design of the study in Chapter III; the comparisons of required music programs of six Thai universities in Chapter IV; the analysis of questionnaire data in Chapter V; and the summary, conclusions, discussions, and recommendations in Chapter VI. It was found that Western and Thai music objectives tended to be seen as supporting each other in the areas of music theory, orchestration, form and analysis, music history, counterpoint, composition, and the practice of pitched and unpitched musical instruments. Sight reading practices in Western music were found to support the rote method utilized in …