Four contrasting recitals were presented to fulfill the requirements for the degree Doctor of Musical Arts. The first recital contained music of miscellaneous composers. Two Preludes and Fugues by the North German Baroque composers Vincent Libeck and Dietrich Buxtehude were separated by Samuel Scheidt's Variations on the Netherlands folk song "Ach du feiner Reiter". The Brahms Chorale Prelude "0 wie selig seid ihr doch, ihr Frommen" and the Louis Vierne "Intermezzo" from the Third Symphony represented Romantic-style composition. The major work of the program was the Carl Nielsen Commotio, a large work in orchestral style. The second recital consisted completely of music by J. S. Bach. Four works of contrasting styles were presented: Concerto, Opus 3, No. 8, composed by Antonio Vivaldi and transcribed by Bach, Partita on Sie gegrisset, Jesu gtig, Sonata IV, and Fantasy and Fugue in G Minor. The third recital was the lecture recital: Registration of Orchestral Textures in Organ Music. This lecture was an attempt to deal with the contemporary problem in performance practice of registration of Romantic organ music. The trends in organ building in the twentieth century have ranged from a deeper exploration of the possibilities of the Romantic organ to the reevaluation …

Since the time of Johann Sebastian Bach many musical compositions have been written on the letters of his last name. In German musical notation, these letters are the equivalents of out B flat, A, C, and B natural. This study traces the use of this motive in works written for the organ throughout the past two centuries. The discussion in these chapters has been an attempt to illustrate the use of the motive B A C H in organ compositions from before the time of Bach up to the present. Time limitations required that this study limit itself to those works appearing in generally available editions.

The problem in this study may be stated as an analysis of the prognostic capability of scores on selected tests for the prediction of proficiency in music theory at the collegiate freshman level.

The present study was designed for the purpose of comparing the effectiveness of two methods of orchestral programming, demonstration and non-demonstration, upon (1) the musical perception of the members of a student body audience, and (2) the attitudes of the members of a student body toward orchestra as a school subject. This comparison of demonstration and non-demonstration programming involved the question concerning the effectiveness of instructive listening as compared with free listening in the development of musical perception and attitudes. The problem of the present study is presented in the following major areas: (1) musical perception, end (2) attitudes.

The two basic needs which motivated this study were instructional material and instruments. By investigating these problems the writer hopes to improve not only his own techniques of teaching, but to present a useful source of information concerning the tuba. Analysis of the problem statement led to subordinate questions, or sub-problems, which may be stated as follows: 1. What do the authorities consider to be the desirable physical and mental characteristics in the tuba player? 2. How do the authorities teach the specific techniques of tuba performance. 3. What are the authorities' opinions concerning tubas and tuba mouthpieces? 4. What are the authorities' recommendations concerning instructional materials for tuba students?