Johann Nepomuk Hummel (1778–1837) was a leading composer, virtuoso pianist, and well-known pedagogue during the late Classical and early Romantic periods. His music was important and frequently performed during his lifetime, but his piano preludes, Op. 67, seem to have been completely forgotten. These preludes reflect the traditional use of the prelude, with many traditional piano techniques. The influence of Hummel's Op. 67 on the next generations is clearly shown in the similarities in their compositions, especially the works of Chopin. This dissertation includes a formal analysis of the preludes and a discussion of each specific type of piano techniques with practicing suggestions, providing a pedagogical guide for students on how to use Hummel's works to prepare for other composers.

This dissertation examines the history and importance of Oklahoma City's Black Ethnic Enclave. It focuses on how this community developed over generations and the role of its leaders in shaping its identity, despite facing segregation. The settlement in this region began in 1889 when unassigned lands in central Indian Territory were opened for homesteaders by the US government. As a result, Oklahoma City became one of the major towns and eventually the state's capital. Most historical accounts primarily focus on the viewpoint of the white founders of the city, ignoring the experiences of minority residents and the urban aspects of the city. This study takes an interdisciplinary approach, combining historical analysis, urban studies, and sociocultural perspectives. It aims to understand the complex relationship between racial dynamics, urban development, and identity formation. By thoroughly examining primary and secondary sources like archival records, oral histories, and scholarly literature, the research uncovers the struggles, achievements, and cultural contributions of the community builders who overcame systemic barriers to create a thriving enclave within Oklahoma City. By highlighting their stories, this research enriches our understanding of the city's history and the diverse urban experiences it encompasses.

A weekly publication, the Texas Register serves as the journal of state agency rulemaking for Texas. Information published in the Texas Register includes proposed, adopted, withdrawn and emergency rule actions, notices of state agency review of agency rules, governor's appointments, attorney general opinions, and miscellaneous documents such as requests for proposals. After adoption, these rulemaking actions are codified into the Texas Administrative Code.

Ensemble performances program book from the 2022-2023 school year at the University of North Texas College of Music.

Ensemble performances program book from the 2022-2023 school year at the University of North Texas College of Music.

Student performances program book from the 2022-2023 school year at the University of North Texas College of Music.

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.

Since the first saxophone professor at the Paris Conservatory in 1858, saxophone instruction has primarily been a male-dominated field. Numerous sources detail the experiences, lives, and influence of male post-secondary saxophone instructors. Women have made great strides in the performance and instruction of the saxophone at the post-secondary level, but sources discussing their lives and experiences are limited. Saxophone instruction at the post-secondary level in the United States began in the late 1800s. As the instrument grew in popularity through the 20th century, more and more higher education institutions began incorporating the saxophone as an instrument for primary study. This increased the need for saxophone professors in the United States. In 1994, Elizabeth Zinn Ervin, became the first woman full professor. This was 40 years after the the first man, Larry Teal, held this rank. As of 2023, 15 women have achieved the rank of full professor. This document is intended to highlight several women saxophone instructors throughout the history of the instrument, and detail the thoughts and experiences of women saxophonists who have achieved the rank of full professor in the United States.

With the importance of versatility in freelance work in the world of trombone performance, along with increased competition for that work, the need for players to play alto, tenor, and bass trombones to a high level of proficiency has become more and more crucial. This, coupled with the growing number of orchestras looking to hire musicians who are highly competent on all three instruments means that university professors need to be able to teach all three instruments. This evolution of the job market is driving a need for pedagogical material that is specifically designed to address the unique challenges of practicing and performing at a professional level on the main three instruments in the trombone family. As of the time of writing, this material simply does not exist. This project aims to fill that instructional gap. It gives students and teachers a resource that outlines an approach for a four-year undergraduate course of study that allows for the development of the playing of each of the trombones individually and collectively, utilizing the strengths of one instrument to develop the other two. It will also allow for the exploration of the technical challenges that arise when playing and changing between instruments. …