A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

A faculty and recital performed at the UNT College of Music Recital Hall.

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

Faculty Chamber Recital presented at University of North Texas College of Music Concert Hall.

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

A faculty recital presented at the UNT College of Music Recital Hall.

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

Faculty recital performed at the UNT College of Music Recital Hall.

Harp concert performed at the UNT College of Music Voertman Hall.

Recital presented at the UNT College of Music Winspear Hall in partial fulfillment of the Bachelor of Music (BM) in Performance degree.

A senior recital presented at the UNT College of Music Voertman Hall.

TMTA/DMTA Ensemble & Original Composition Recital at the UNT College of Music Recital Hall.

Concert performed at the UNT College of Music Concert Hall.

Original composition recital performed at the UNT College of Music Voertman Hall.

After he died, Townes Van Zandt found the success that he sabotaged throughout his short life despite the release of sixteen brilliant albums. Since his death, numerous albums both by and in honor of him have been released and many critical articles published, in addition to several books (including Robert Hardy’s A Deeper Blue by UNT Press). For the Sake of the Song collects ten essays on Townes Van Zandt from a variety of approaches. Contributors examine his legacy; his use of the minor key; his reception in the Austin music scene; and an exploration of his relationship with Richard Dobson, with whom he toured as part of the Hemmer Ridge Mountain Boys. An introduction by editors Ann Norton Holbrook and Dan Beller- McKenna provides an overview of Van Zandt’s literary excellence and philosophical wisdom, rare among even the best songwriters.

Rimsky-Korsakov’s Harmonic Theory is the first comprehensive study of his concept of harmony that also traces the history of tonal relationships. Larisa P. Jackson describes and examines Rimsky-Korsakov’s distinctive harmonic theory using his Practical Manual of Harmony as a basis, and places it in historical context of nineteenth-century music theory. She explores in great detail a concept of tonal relationships, fundamental to Rimsky-Korsakov’s view of harmony, and relates this to ideas by German theorists of the period and the Russian theoretical tradition. Jackson examines the concept of modulation and of the relationship of keys and presents a model of his tonal space/map extrapolated from his harmonic system. She identifies specific treatises that help to trace ties between German theoretical ideas and Rimsky-Korsakov’s work.

Doctoral recital presented at UNT College of Music Recital Hall.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.

Original composition recital performed at the UNT College of Music Voertman Hall.

Senior recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Bachelor of Music (BM) degree.

TMTA concert perfomed at the UNT College of Music Concert Hall

Guest artist recital presented at the UNT College of Music Voertman Hall.