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.

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 …

This dissertation consists of four programs: one lecture recital, two recitals for solo trumpet, and one in combination with other instruments and voices. The lecture was an exploration of the contents of Modo per Imparare a Sonare di Tromba, by Girolamo Fantini, published in 16358. Fantini, who was also a trumpet player, included in his volume a wide variety of music for the natural trumpet. In addition to military signals and fanfares, the book contains exercises for developing technical ability on the trumpet, a large number of dance pieces with and without accompaniment, duets for two trumpets, and sonatas for trumpet and keyboard.

The problem of this study was the writing of a comprehensive history of speech and drama education in the Dallas Public Schools from 188^-1970. This necessitated the recording of the facts, events, and circumstances which have determined the condition and progress of speech and drama education in the Dallas Public Schools during this period of time.

The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.

The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also …

The lecture was given on March 3, 1974. The discussion of the Bolognese trumpet works consisted of an exploration of the local agencies that nurtured the compositional activity centered around San Petronio, biographical details of the principal composers, and stylistic and formal analyses of the works that were performed. Selections were performed from the early, middle, and late segments of the period, represented by the composers Maurizio Cazzati, Petronio Franceschini, and Giuseppe Torelli. In addition to the lecture recital three other public recitals were given. Two of these consisted primarily of solo literature for the trumpet, and the third featured chamber music with trumpet. The first solo recital was presented on July 31, 1972, and included works of Tommaso Albinoni, G. Ph. Telemann, Thérèse Brenet, and Wayne Bohrnstedt. The second solo recital, on July 22, 1974, featured French music of this century. Compositions by Ravel, Fauré,Varèse, Henri Tomasi, Pierre-Max Dubois, Benno Ammann, and Théo Charlier were presented. The chamber music recital displayed the trumpet in combination with other solo instruments and voice, together with varied accompaniments. A group of three arias for soprano and trumpet--by Purcell, Handel, and Bach--and a suite of arias for oboe and trumpet by Telemann were …

In this study of vocal chamber duets the various approaches used in duet writing from the late sixteenth century through the nineteenth are examined. Various meanings attributed to the terms "vocal duet" and "chamber duet" are considered, and an appropriate delineation of the genre is determined. The study begins with examination of bicinia, dialogues, and concertato madrigals of the late sixteenth century, three kinds of works related to the continuing lines of interest in duets of later centuries: pedagogical duets, dialogue duets, and duets shaped by general musical trends. After a foundation has been laid in the sixteenth century, examples of duets of various kinds for the next three centuries are considered. It is seen that a discontinuity in the history of the vocal chamber duet occurs during the Classical period. Operatic and chamber duets prior to this time show great similarities in style. Operatic and chamber duets of the nineteenth century show distinct differences in style. At the same time that differences between operatic and chamber duets were increased, the differences between solo and duet chamber works by the same composer were decreased.

The dissertation consists of four recitals: one chamber music recital compiled from two years' series of chamber music performances in residence, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The Fifth and Sixth Clarinet Concertos by Johann Melchior Molter, begins with perhaps the first performance of the Concerto No. 4 in D Major, Mus. Hs. 337, for clarinet in D with orchestral accompaniment reduced for piano. Bibliographical, historical and technical information is marshaled to justify the solo designation of Badische Landesbibliothek concerto manuscripts 334 and 328 to D clarinet rather than clarino. An investigation into the formal and stylistic aspects shows these two questionable works to be comparable to the composer's other four clarinet concertos. The analysis is followed by a short discussion of the problems involved in the transcription and performance of the works. The lecture concludes with the first performance of the Concerto No. 6 in D Major, Mus. Hs. 328, for clarinet in D with orchestral accompaniment reduced for piano.

The problem with which this investigation is concerned is that of developing a theory in vocal pedagogy, voiception, which could provide teaching techniques with tangibility for gaining control of both voluntary and involuntary functions of the singing act. This study appears to show that feeling tone and cognition are innately involved with singing, since the vocal instrument is actually a part of the singer. Analysis of the sung vowel through the singing sensation is the connecting link for gaining control of involuntary vocal functions.

The purposes of this study are to determine the scope and nature of music programs in rural public community colleges in the United States; to determine the unique characteristics of the rural public community college music program when compared to music programs of the total population of two-year colleges; to propose criteria to serve as a basis for a music program at rural public community colleges and to recommend a music program for rural public community colleges based upon the proposed criteria.

The lecture recital was given July 18, 1977. The lecture began with the performance of the Three Preludes and a discussion of these final works in relation to the composer's last period of composition which included the Sonata for Piano. After the biographical foundation was laid, the Sonata for Piano was detailed concerning form and compositional techniques. All works were performed from memory. In addition to the lecture recital, three public recitals were performed. The first solo recital, performed on August 11, 1975, consisted of works by Schubert and Liszt-Busoni. The second recital, a chamber recital, performed March 29, 1976, consisted of solo and chamber works of Messiaen. The final solo recital, performed on August 1, 1977, consisted of works by Clementi, Satie, and Rubinstein. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation.

The first three recitals contained solely performances of piano music. The first one consisted of an Etude-Tableau by Rachmaninov, the Capriccio by Stravinsky (the chamberensemble accompaniment arranged for second piano), and the great Sonata in A minor by Schubert. The second recital contained a Prelude and Fugue by J. S. Bach, Reger's Variations and Fugue on a Theme by Bach, a Romance by the performer, Peter Covino's Toccatina Op. 4 No. 8, and Chopin's Nocturne Op. 55 No. 2 and Scherzo in E. The third recital consisted of Schonberg's Sechs Kleine Klavierstilcke, Ives's Some South-Paw Pitching, and the Sonata Op. 106 ("Hammerklavier") by Beethoven. The fourth recital featured a lecture which surveyed the piano waltz throughout its history. Several complete examples, namely Weber's Invitation to the Dance, Chopin's Waltz in A minor, and La Valse by Ravel, and incomplete examples including a Lundler by the performer, several of Schubert's waltzes, Chopin's Waltz Op. 42, and Man Lebt Nur Einmal! by Strauss-Tausig interspersed the lecture. All four recitals, tape-recorded, and the lecture, typewritten, are filed together in the Graduate Office of the North Texas State University.

The lecture recital was given February 16, 1976. A discussion of the development of form in the German organ sonata from Mendelssohn to Rheinberger was presented. A performance of representative sonatas by Mendelssohn and Rheinberger was included with the lecture. Two solo recitals and one chamber recital were presented as public recitals in addition to the lecture recital. The first solo recital, on July 2, 1970, included works of Buxtehude, Roger-Ducasse, Bach, and Sowerby. The chamber recital, given with Betty Lambert, soprano, on July 31, 1973, consisted of works by Bach, Pepping, Pinkham, Reger, and Bornefeld. The second solo recital, on April 17, 1978, included works by Lubeck, Balbastre, Bach, Mathias, Karg-Elert, and Dupré. All four programs, recorded on magnetic tape, are filed, along with the written version of the lecture material, in the North Texas State University library.

The serpent, an extinct musical instrument, was important to the development of contemporary low brass. Its characteristics, performance problems, and literature give insight into its development as well as reasons for its ultimate demise and replacement with technically more advanced instruments.

The lecture recital was given on November 20, 1979. The final movement of Widor's Symphonie Gothique, opus 70, the first movement of Widor's Symphonie Romane, opus 73, and the first movement of Dupré's Symphonie-Passion, opus 23 were performed following a lecture on Gregorian Chant in the organ symphonies of Widor and Dupré. The lecture included a brief historical discussion of the decline of organ literature following the French Classical School, the development of the Modern French Organ School beginning with the establishment of the organ department at the Paris Conservatory, the revival of plainsong and the establishment of the School of Solesmes, and the influence of César Franck and the organ symphony. The main body of the lecture included biographical sketches of Widor and Dupré, a discussion of the general characteristics of their organ symphonies, with the emphasis upon those movements specifically employing the use of Gregorian chant.

This dissertation deals with Respighi's output for the organ which consists of the Three Preludes for organ solo, a Suite in G for strings and organ, two transcriptions (the Vitali Ciaccona, and a Suit by Bach), both for violin and organ, and various organ parts in the symphonic poems, operas, and orchestral works. If Respighi was not an innovator, he was at least creative in his use of the organ in his orchestral works. The organ was used primarily for color by adding depth, body, and novelty to the ever-growing orchestra. Respighi paid great attention to the smallest detail in his orchestrations, which were varied, delicate, and precise. Why did this interest in color and sonority not result in similar treatment of the organ in his music? The answer is suggested already in the description of the late romantic/orchestral organ. Its stops had lost their individuality, and they blended together in such a way that no particular color was distinguished. The though is not that Respighi's music, or the music of any other composer, caused the decline, but rather that the direction of organ-building in its search for modernity, machinery, and the industrial age, lost its identity, its characteristics personality …

The lecture was given on April 23, 1979. The discussion consisted of an exploration of the history and derivation of the Baroque idiomatic technique for trumpet to which Handel was heir. Consideration for Baroque performance practice is included along with stylistic and formal analyses of the trumpet arias that were performed. Four works were rendered; they were selected on the basis of their adaptability to the recital situation. The first recital was presented on April 24, 1970, and included solo works of Giuseppe Torelli, Geoffrey Robbins, Marcel Poot, Halsey Stevens, and Fanfares Liturgiques by Henri Tomasi which featured Mr. Morley as conductor of a sixteen member brass choir. The second recital, on February 18, 1971, featured solo works by von Oskar Bohme, Roger Goeb, Robert Weast, Merrill Ellis, and the Septet fur Biasinstrumente by Paul Hindemith. The third recital included solo works of Paul Hinderoith, Kent Kennan, Georges Enesco, and Marcel Bitsch, and was presented on August 16, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

This doctoral dissertation discusses music criticism in the New York Times and the New York Tribune from 1851-1876.

An understanding of the piano transcription is basic to any proper comprehension of nineteenth-century piano music and performance practice. In this study, the transcription for solo piano is examined in relation to several musical milestones in the mid-nineteenth century, including far-reaching technical developments in the piano, the beginning and growth of the public concert, the birth of the solo piano recital, and the influence of virtuosity as a Romantic ideal. In addition, as Liszt was undoubtedly the greatest transcriber of the nineteenth century, several representative transcriptions of Liszt are analyzed and compared to their original models, including Schubert's Gretchen am Spinnrade and Auf dem Wasser zu singen, Chopin's Moja pieszczotka ("My Joys"), Wagner's Liebestod from Tristan und Isolde, and the quartet from the final act of Verdi's Rigoletto.

The purpose of this project was to develop and recommend a strategic planning model that can be used by music executives in their management of music programs in institutions of higher education. Specifically, the study sought to (1) determine the aspects which influence the planning process, that are unique to the administration of a music program in institutions of higher education, and (2) develop a model that incorporates the major concepts of strategic planning and that can be applied to the planning process in music programs in institutions of higher education.

The lecture recital was given on June 16, 1980. The Ralph Vaughan Williams Concerto for Bass Tuba and the Paul Hindemith Sonate for Tuba and Piano were performed following a lecture on the historical evolution of the tuba in Europe. The lecture included a history of the predecessors of the tuba and their influence on the development of tuba playing traditions. Tuba performance practices in Europe developed around two playing traditions, one in France and England, and a second in Germany. The ophicleide enjoyed tremendous popularity in France and England during the early nineteenth century. Because this instrument was a major competitor of the tuba in these countries, the tuba was viewed as an ophicleide replacement. Tubists in Europe and England had to develop facility and sound quality equivalent to that of the older instrument. In Germany the tuba's main competitor was the Russian bassoon, a form of upright serpent. At this same time the serpent and its related forms were in decline. This lack of popularity with the older instruments provided an opportunity for the quick adoption of the tuba in Germany.

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.