This study is a history of the musical activities in the Territory of Oklahoma from 1889 to 1907. Material for this dissertation was gathered from newspapers, books, periodicals, letters, sheet music, concert programs, college catalogues, church records, and photographs. Oklahoma City and Guthrie, the most important cities of the territory, provide the locals for the greater part of the study. These two communities reflect the cultural tastes and activities of the entire territory.

The purpose of this study was to investigate the development of higher music education in Iran and music teacher training from 1868 to 1978, prior to the establishment of the Islamic Republic.

Trichotomy is a composition in three movements for full orchestra. The title was chosen to imitate the differences that exist between the individual movements of the work. The composers chosen for quotation (Schoenberg, Berg and Webern) are related by their compositional pitch vocabulary; that is, in these quoted works they are all using twelve-tone technique.

Fleogan is a work for a flute choir consisting of four piccolos, six C flutes, six alto flutes, and four bass flutes. The formal structure of Fleogan consists of three levels of arch form. First is the arch structure of the work in its entirety; next is the arch form within a movement, and on the smallest scale is the form within a tempo-section.

The title is intended to suggest that the work expresses the composer's innermost thoughts and feelings, even though these thoughts and feelings have no concrete realizations or programmatic connotations. It is precisely because of their abstractness that the thoughts and feelings are expressed in music rather than in words or some other concrete mode of communication. The total performance time is approximately twenty minute. The individual movements last about ten, four and one-half and five and one-half minutes, respectively.

"Concerto for Band" is a one movement composition approximately seven minutes in length. It consists of several smaller sections which are distinguished mainly by tempo. The instrumentation of the piece is piccolo; flute; oboe; 1st, 2nd and 3rd trumpets; 1st, 2nd, 3rd, and 4th horns; 1st, 2nd, and 3rd trombones; euphonium; tuba and a percussion section of even players which includes a triangle, tenor drum, snare drum, bass drum, timpani, chimes, orchestra bells, xylophone, marimba, suspended cymbal, crash cymbals, temple blocks, tambourine, claves, and sandpaper blocks.

The first three recitals contained solely performances of piano music. The first of these consisted of a Fantasy and a set of variations by Mozart, the Fantaisie in F minor by Chopin, and the Sonata in C minor by Schubert. The second recital contained an English Suite by J. S. Bach, two Etudes-Tableaux and two Preludes by Rachmaninoff, and the Piano Sonata of Ernest Bloch. The third recital consisted of four Sonatas by Scarlatti, a Fantasia (Variations) by the American composer, Ben Weber, a Sonata by Beethoven, Chose en soi and Pensée by Prokofieff, and a Polonaise by Liszt. The fourth recital was a lecture on symbolism in the Davidsbündler Dances of Schumann, examining various types of symbolism appearing in the Dances: use of quotations from his own and others' works, use of a motive based on the letters of a name, use of "stage directions," use of tonality as a symbol, use of word painting, and use of sound effects. The lecture was followed by a performance of this work.

Rather than generalizing about the works as a whole, each piece was studied on its own merits as well as its relation to Merulo's collective style. Included are translations of the poems and comparative studies of other settings where possible. The entire transcription of the two books of music is gathered into a separate volume to make the music easily accessible for performance.

Hegira is a work for full orchestra making use of piano as well as an augmented percussion section. The title, taken from Mohammed's flight to Mecca in 622 A.D., did suggest certain directions during the compositional process, but it does not imply a specific program for the music. The compositional process employed many techniques, including thematic transformation, serialization, rotation, contrapuntal textures, as well as the intuitive juxtaposition of material.

The lecture recital, presented on November 27, 1978, explored the method of "gracing" employed in the performance of solo violin sonatas in the first quarter of the eighteenth century as exemplified by an unpublished manuscript of the embellished version of Corelli's Sonata in E Major, Op. V, No. 11, by the English violinist Matthew Dubourg. A general comparison was made with other contemporary examples, including in particular Geminiani's "graced" version of Corelli's Sonata in A Major, Op. V, No. 9. Dubourg's manuscript was performed after the lecture.

This paper is a collection of corrections and related thoughts for Bevil's thesis The Welsh Crwth, Its History and Its Genealogy.

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The practice of altering Shakespeare's plays, begun during the Restoration and continued throughout the eighteenth century and well into the nineteenth, originated in continuously evolving literary and dramatic principles that went much deeper than the capricious whims of individual dramatists. Thus, each Shakespearean alterations in, perhaps, a century's time, a comparative study can provide some insight into the changing rules of dramatic valuation in the eighteenth century. Such a study is the purpose of this work, in which are examined the Shakespearean alterations of John Phillip Kemble. The sheer breadth of Kembles Shakespearean repertoire, his reputation among contemporary Shakespeare scholars and his renown for a quarter of a century as England's foremost Shakespearean dramatist and actor at both Drury Lane and Covent Garden all serve to emphasize the validity of such an undertaking.

This investigation was concerned with assessing the knowledge acquired in an employability skills training program. The method for determination of the knowledge was presented as subjects' responses to the Employability Inventory (EI). As an antecedent to this, the EI was subjected to validation procedures. The methods used to validate the EI were the point-biserial correlation coefficient and rating devices.

PhiAC--987 : A Concerto for Alto Saxophone and Wind Ensemble is a two movement work approximately nineteen minutes in length, scored for a soloist of virtuosic ability and a large wind ensemble of thirty-five instrumentalists.

The present study directly contrasted the efficacy of biofeedback-assisted cue-controlled relaxation, biofeedback-assisted metronome -conditioned relaxation, and both procedures combined via one physiological and one subjective measure of relaxation under no-stress and stress conditions.