The purpose of the study was to investigate freshman music students' identification with expected tasks in music theory class including aural, written, and performance requirements. The second research problem compared students' descriptions with actions in class to determine the presence of role taking (the conscious adherence to a set of behaviors) or role playing (the unconscious assumption of a set of behaviors).

In fourteenth-century England, a form of lay spirituality emerged, influenced by the writings and example of the famous mystics, both English and continental, of that period, but much affected by other developments as well. Against the background of socio-economic and political change, the emergence of lay spirituality is examined, with particular emphasis upon continuity and change within the church, the religious instruction of the age, and the spirituality of the English mystics. Finally, the sole surviving written record of lay spirituality of the period, The Book of Margery Kempe, is investigated, along with its author, Margery Kempe - pilgrim, visionary, and aspiring mystic.

The purpose of this study was to investigate the interpersonal influences which Bohumil Makovsky, Director of Bands and Chairman of the Music Department at Oklahoma A&M College from 1915 to 1943, had on his students and peers, as confirmed through the perceptions of selected individuals, and to determine what personal characteristics and means he drew upon to induce changes in his students and peers.

Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, …

Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.

The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.

JAC: A Journal of Composition Theory contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

JAC: A Journal of Composition Theory contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

The Journal of Advanced Composition contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

JAC: A Journal of Composition Theory contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

The Journal of Advanced Composition contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

The Journal of Advanced Composition contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

JAC: A Journal of Composition Theory contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

The Journal of Advanced Composition contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

The Journal of Advanced Composition contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

JAC: A Journal of Composition Theory contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

The Journal of Advanced Composition contains a collection of papers regarding writing and rhetoric: "The JAC is a forum for theory, research and pedagogy regarding (1) those writing courses beyond the freshman courses, excluding technical and creative writing, (2) writing in courses which are not themselves writing courses, particularly in the liberal arts and sciences, and (3) work in theory, research or pedagogy which is advanced or progressive and will shed light on the field as a whole while at the same time providing insights for advanced composition" (volume 1, number 1).

Recent Berlioz studies tend to stress the significance of the French tradition for a balanced understanding of Berlioz's music. Such is necessary because the customary emphasis on purely musical structure inclines to stress the influence of German masters to the neglect of vocal and therefore rhetorical character of this tradition. The present study, through a fresh examination of Berlioz's vocal-orchestral scores, sets forth the various orchestrational patterns and the rationales that lay behind them.

John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences …

Quarterly journal publishing papers related to near-death experiences, including research reports; theoretical or conceptual statements; expressions of a scientific, philosophic, religious, or historical perspective on the study of near-death experiences; cross-cultural studies; individual case histories; and personal accounts of experiences or related phenomena.

Quarterly journal publishing papers related to near-death experiences, including research reports; theoretical or conceptual statements; expressions of a scientific, philosophic, religious, or historical perspective on the study of near-death experiences; cross-cultural studies; individual case histories; and personal accounts of experiences or related phenomena.

Quarterly journal publishing papers related to near-death experiences, including research reports; theoretical or conceptual statements; expressions of a scientific, philosophic, religious, or historical perspective on the study of near-death experiences; cross-cultural studies; individual case histories; and personal accounts of experiences or related phenomena.

Re-print of a historical compilation of Native American papers in the American Southwest region from 1825 to 1916. Index begins on page 459.

Predominantly darker than his other works, Cape Cod depicts Henry David Thoreau's interpretation of life as a struggle for survival and a search for salvation in a stark New England setting. Representing Thoreau's greatest test of the goodness of God and nature, the book illustrates the centrality of the subject of death to Thoreau's philosophy of life. Contending that Thoreau's journey to the Cape originated from an intensely personal transcendental impulse connected with his brother's death, this study provides the first in-depth examination of Thoreau's use of the five senses in Cape Cod to reveal both the eccentricities inherent in his relationship with nature and his method of resolving his fears of mortality. Some of the sense impressions in Cape Cod--particularly those that center around human death and those that involve tactile sensations--suggest that Thoreau sometimes tried to master his fears by subconsciously altering painful historical facts or by avoiding the type of sensual contact that aggravated the repressed guilt he suffered from his brother's death. Despite his personal idiosyncrasies, however, Thoreau persisted in his search for truth, and the written record of his journey in Cape Cod documents how his dedication to the transcendental process enabled him to surmount …