In Music from the Hilltop, Benjamin A. Kolodziej studies three significant academic musical figures to weave a narrative that not only details the role musical studies played in the development of Southern Methodist University but also relates a history of church music and pipe organs in Dallas, Texas. Bertha Stevens Cassidy (1876–1959), the first organ professor and the only woman on the faculty of the new university, established herself as a leader and veritable dean of the church music community, managing a career of significant performances and teaching. Her student and protégé, Dora Poteet Barclay (1903–1961), broadened the pedagogical horizons for her students. Many of her own students achieved great professional heights as performers and church musicians. Robert Theodore Anderson (1934–2009) was intellectually able to bridge the gap between the theologians of the Methodist seminary and the performers at the Meadows School of the Arts. He consulted with the Dallas Symphony to prepare for the installation of an organ in the new Meyerson Symphony Center—an organ that would influence concert hall instruments in subsequent decades.

Keith Johnson retired in 2014 from the University of North Texas, where he was Regents Professor of Trumpet and was honored with the Distinguished Teaching Professor award. Johnson wrote more than thirty articles, two pedagogical texts, and two method books. During his career, he presented masterclasses at universities and conservatories throughout the United States and worldwide. Johnson’s former students hold positions in universities, orchestras, and military ensembles in over a dozen countries. In The Art of Trumpet Teaching, his students describe Johnson’s teaching approach and tireless work to help each person succeed. Along with Johnson’s biography and studio stories, Leigh Anne Hunsaker presents an extensive collection of pedagogical concepts from Johnson’s six decades of teaching. Johnson’s hallmark pedagogical tenets, along with much practical advice given to his UNT students, provide a teaching and reference handbook for a new generation of teachers and players.

After earning his theology degree from Union Seminary in New York, Lloyd Pfautsch (1921–2003) found his true calling in church music. He was invited to Southern Methodist University in 1958 to start their graduate program in sacred music and remained there for 34 years. Outside the university, he formed the Dallas Civic Chorus and led it for 25 years. He was nationally known for his conducting and the quality of the musicians he produced as well as for his compositions, many of which are illustrated here with his handwritten notations. This is the first biography of this important figure, and it is told from the viewpoint of a longtime colleague and friend. Aligned with the biography, Hart analyzes some of Pfautsch's hundreds of compositions. This is the definitive work on one of the most influential American choral musicians of the twentieth century.

“This wonderful collection of essays is a treasure of insight into the mind and heart of one of our great American performers and teachers. If the Arban book is the trumpet player’s ‘Bible,’ then I’d have to say Inside John Haynie’s Studio is the trumpet teacher’s ‘Bible.’”–Ronald Romm, founder, Canadian Brass and Professor of Trumpet, University of Illinois “The essays in this remarkable volume go far beyond trumpet pedagogy, providing an exquisite portrait of the studio practices of one of the first full-time single-instrument wind faculty members in an American college or university setting. John’s concern for educating the whole person, not just cramming for the job market, emanates from every page. This book showcases a teaching career that has become legendary.”–James Scott, Dean of the College of Music, University of North Texas “The principle that pervades my entire educational philosophy did not come from education or psychology classes; it did not come from the many sermons preached by my Dad and hundreds of other pulpiteers. It came from John Haynie’s studio.”–Douglas Smith, Mildred and Ernest Hogan Professor of Music, Southern Baptist Theological Seminary “I read a book like this and I come out the other end asking, ‘Why didn’t …

A history of the institution of the University of North Texas, featuring photographs of people and events on campus and charting its development from the Texas Normal College to its role in the sciences, mathematics, humanities, social sciences and teacher education, amongst others.

Anshel Brusilow was born in 1928 and raised in Philadelphia by musical Russian Jewish parents in a neighborhood where practicing your instrument was as normal as hanging out the laundry. By the time he was sixteen, he was appearing as soloist with the Philadelphia Orchestra. He also met Pierre Monteux at sixteen, when Monteux accepted him into his summer conducting school. Under George Szell, Brusilow was associate concertmaster at the Cleveland Orchestra until Ormandy snatched him away to make him concertmaster in Philadelphia, where he remained from 1959 to 1966. Ormandy and Brusilow had a father-son relationship, but Brusilow could not resist conducting, to Ormandy's great displeasure. By the time he was forty, Brusilow had sold his violin and formed his own chamber orchestra in Philadelphia with more than a hundred performances per year. For three years he was conductor of the Dallas Symphony, until he went on to shape the orchestral programs at Southern Methodist University and the University of North Texas. Brusilow played with or conducted many top-tier classical musicians, and he has opinions about each and every one. He also made many recordings. Co-written with Robin Underdahl, his memoir is a fascinating and unique view of American …

William Vacchiano (1912–2005) was principal trumpet with the New York Philharmonic from 1942 to 1973, and taught at Juilliard, the Manhattan School of Music, the Mannes College of Music, Queens College, and Columbia Teachers College. While at the Philharmonic, Vacchiano performed under the batons of Arturo Toscanini, Bruno Walter, Dimitri Mitropoulos, and Leonard Bernstein and played in the world premieres of almost 200 pieces by such composers as Vaughan Williams, Copland, and Barber. Vacchiano was important not only for his performances, but also for his teaching. His students have held the principal chairs of many major orchestras and are prominent teachers themselves, and they have enriched non-classical music as well. Two of his better known students are Miles Davis and Wynton Marsalis. Last Stop, Carnegie Hall features an overview of the life of this very private artist, based on several personal interviews conducted by Brian A. Shook and Vacchiano’s notes for his own unpublished memoir. Shook also interviewed many of his students and colleagues and includes a chapter containing their recollections. Other important topics include analyses of Vacchiano’s pedagogical methods and his interpretations of important trumpet pieces, his “rules of orchestral performance,” and his equipment. A discography, a bibliography of …

This unique collection of narratives, essays, and poems includes an original interview with Maya Angelou and pieces by Naomi Shihab Nye, Pat Mora, Rosemary Catacalos, and many others. Each work relates how women have demonstrated courage by taking a risk that has changed their lives. The Introduction explores courage not as a battlefield quality, but as the result of thoughtful choices demonstrating integrity and self-awareness. Each section opens with a description of its organization and the significance of individual pieces. Themes include sustenance for living, faith in the unknown, the courage of choice, the seams of our lives, and crossing borders. The book begins with a conversation with Dr. Maya Angelou, the embodiment of a courageous woman. She urges readers to "Envision" and concludes the book with the wish "Good morning," inviting all to join her in a new day reflecting "The Power of One." Voices of racial and ethnic diversity speak throughout the work, underscoring both difference and unity in the female experience. Including role models for university audiences and powerful reflections of life experiences for older readers, this work serves many purposes: a textbook in Literature or Women's/Gender Studies classes, a focus for book study groups, and a …

Millions of Texans and Southwesterners have been touched over the years by the Light Crust Doughboys. From 1930 to 1952, fans faithfully tuned in to their early-morning and, later, noontime radio program, and turned out in droves to hear them play live. The Doughboys embodied the very essence of the “golden era” of radio—live performances and the dominance of programming by advertising agencies. Their radio program began as a way to sell Light Crust Flour. Their early impresario, W. Lee “Pappy” O'Daniel, quickly learned how to exploit the power of radio to influence voters, and he put that lesson to good use to become a two-time Texas governor and the model for Pappy O'Daniel in the movie, Oh Brother, Where Art Thou? But the group was more than a way to push flour; the talented musicians associated with them included Bob Wills and Milton Brown, each of whom receive credit for founding western swing. With the demise of their regular radio program, the Light Crust Doughboys had to remake themselves. Trailblazers in western swing, the Doughboys explored many other musical genres, including gospel, for which they were nominated for Grammys in 1998, 1999, 2001, and 2002. They continue to play …

This volume of the Publications of the Texas Folklore Society "contains a sample of the research that members of the Society were doing at the turn of the millennium as represented at the 1998, 1999, and 2000 meetings." The volume covers "a wide variety of contemporary and historical topics," including baby lore, stories about notable women, stories about food and cooking, information about the Model T Ford, and more (inside front cover). The index begins on page 339.

From the days of Z. N. Morrell and James Huckins to Bill Pinson and Charles Wade, Baptists have played and continue to play an important role in the religious, secular, and political life of Texas. Over the previous one hundred and fifty years several Texas Baptist histories have been written, but not until now have the documents used in the development of these texts been made available in one resource. In A Texas Baptist History Sourcebook, Joseph E. Early, Jr., has provided the most complete collection of Texas Baptist sources ever issued in one volume. This work consists of church minutes, state and association convention records, denominational newspaper articles, records of Baptist universities, and myriads of other resources. Included in this work are George Washington Truett's sermon Baptists and Religious Liberty delivered on the steps of the Capitol building in Washington, D.C., James Milton Carroll's Trail of Blood, J. Frank Norriss railings against the Baptist General Convention of Texas, and countless other sources depicting the many years of Texas Baptist history. This book is designed as a complementary work to Harry Leon McBeth's Texas Baptists: A Sesquicentennial History. Students can follow McBeth's chapter divisions, headings, and subheadings for greater ease …