It was the purpose of this study to determine whether one or a combination of adult readability formulas, when applied to shorthand dictation material, could predict difficulty, as well as to develop a shorthand formula for this specific purpose. In addition, the questions of comparative reliability and practicability were tested with respect to the two kinds of formulas as applied to the shorthand material.

The purpose of this study is to determine the characteristics of the solar cosmic ray flux. This report describes the design and construction of a cosmic ray detector system used in this study and describes the analysis of the data obtained from these systems.

The problem with which this investigation was concerned was that of determining the effect of teaching freshman mathematics with the Spitz Student Response System upon a student's anxiety level, attitude and achievement.

The purpose of this study was to determine attitude and attitude change toward,student teaching as expressed by students who were pursuing certification to teach speech and/or drama courses in the public school at the secondary level.

For all of recorded history musical instruments have been a source of fascination and curiosity for man. Through a major portion of this time one instrument, the trombone, has evolved with a unique design, character, and history. The earliest trombones, called sackbuts, originally had a sliding mechanism located near the mouthpiece. In the sixteenth century this was improved by the addition of the "U-turn" which facilitated holding and playing. This construction innovation was the last major change in trombone design; the trombone of 1600 was essentially the same as the trombone of today.

The Sacrilege of Alan Kent is a monodrama in nine scenes for baritone soloist, orchestra, and tape. This composition may be presented as a dramatic or concert work. From the standpoint of a dramatic form, it may be considered an opera for one performer in nine brief scenes or vignettes. As a concert work, it resembles a song cycle.

The purpose of this study is to show interrelationships between the thematic contents of those piano works by Alkan that are considered to be representative of his general style and the more commonly used melodic phrases taken from the Jewish Synagogue, mainly prayer chants and accents. An attempt will be made to point out the reason behind consequent unacceptable of Alkan's piano works, despite the efforts of Busoni, d'Albert, and Lewenthal to bring them to public attention. The results of this investigation are presented in a systematic analysis and discussion of Jewish prayer-chants and their structure traceable within Alkan's music and in a presentation in table form of the Jewish accents found among Alkan's melodies. After consideration of the outcome of analysis, elements which are known to be European are also presented. These are mainly keyboard virtuousity and harmony and secondarily, form and rhythm. In this section, Robert Schumann's opinions of Alkan's music are quoted and discussed. Because Schumann's ideas carried into the twentieth century, this gave opportunity for a re-evaluation of the lack of musical beauty inherent in Alkan's music.

The structure of the present work is clearly described in the foregoing definition. Consisting of fourteen movements of varying length, it is primarily a vocal work for soprano, tenor, and baritone soloists, mixed chorus and an orchestra of moderate size.

The Eumenides is a single-movement composition for orchestra, chorus, and prepared electronic tape. It is based on the Orestoian trilogy, The Agamemnon, The Libation Bearers, and The Eumenides, by the classical Greek dramatist, Aeschylus. The text of the composition was formed by the extraction and amalgamation of certain ideas, key-words, and phrases from English translations of the plays made by Buckley, Hadas, Vellacott, and Lattimore, and also from the modern drama, Les Mouches, by the French writer-philospher, Jean-Paul Sartre. Three short passages of Gregorian Chant from the Liber Usualis are used in the coda section of the work.

This composition is based off the poem of the same name by Richard Sale. No particular harmonic plan was envisioned for Parts I, II and IV, because it was necessary for the harmonic scheme to be as fluid as the poetry. If the ideas of the text were similar some attempt was made to use a similar or modified melodic line or harmonic scheme. The structure of the text became the structure of the work. The motivating factor is the text, hence the many meter changes in order to keep pace with the poetry.

The initial intent in regard to the story line for this work was to utilize an authentic Hispanic-Southwestern folk tale. It was found, however, that the predominance of recorded folk tales was lacking in sufficient plot involvement. It was decided therefore, that a plot would be constructed by the composer using Hispanic folk material. Elements of recorded folk tales are used in the story to maintain the folk-like quality. Some of these elements are a mutual respect among family members, an acceptance of superstitious ideas, a dependence upon a person claiming supernatural powers, the embodiment of the devil in a person or animal, and the punishment of the wayward girl by the devil.

Concerto for Piano and Orchestra is a three movement composition. The performance time of the entire composition is approximately nineteen and one-half minutes. Certain melodic similarities are found in the three movements of this composition because some of the pitch successions selected for motives were derived from a twelve tone row. The harmonic sonorities are based on free choice and derivations from the tone row as were the melodic materials. The rhythm in this work is not serialized or in any other way predetermined.

This composition is a two-movement work for orchestra and prepared electronic tape. The second movement preceeded by a solo tape prologue. The work requires approximately twenty-five minutes for performance. One of the purposes for the composition of this work was to explore the possibilities, potentialities, and limitations of combining orchestral resources and taped electronic material.

The purpose of the study was to indicate procedures leading to meaningful learning experiences through music for the educable mentally retarded child. Four areas of a music curriculum were considered: performing, composition, listening and dancing. Based upon known characteristics of the educable mentally retarded and professional writings of authorities in the fields of both music education and special education, objectives and specific approaches to musical experiences were determined, Twelve performing, eight composition, ten listening and ten dancing experiences are outlined with objective, previous experience, materials, room arrangement, song material, procedure and related activities included in each.

The purpose of this study is to compare the staging of the Passion Play of Oberammergau, Germany, with the staging of The Great Passion Play on Mount Oberammergau, Eureka Springs, Arkansas. Source material includes literary writings of the century concerning Passion plays, interview with the directors of both productions, and eyewitness accounts of the 1970 producation in Germany and the 1970, 1971 producations in Eureka Springs, Arkansas, U.S.A. Photographs of actors and scenes from both productions are used throughout the thesis.

This composition is a symphonic setting of three original poems within the confines of an expanded sonata-allegro form and is an approximately twenty-two minutes in duration. The three poems are designed with certain cyclic implications which are related formally to the recurrence of musical ideas. The main application of this plan is found in the duality of formal roles assigned to each of the three major sectional divisions of the work. This is an expanded sonata-allegro, but each section (exposition, development, and recapitulation) is enlarged and individualized to the point of becoming a complete movement in itself. Each is intended to have the internal formal capacity to stand alone and at the same time serve as a section part of the whole. Formal unity is established without excessive dependence upon the poems, as both the music and the texts are formally evolved from the principles of sonata-allegro procedures. The poems were written specifically for this musical setting by the composer and are as an integral part of the compositional process itself; however, the poetry is didactic in purpose and is something of a jeremiad. Each poem relates principally to one of three aspects of existence: a ritual of history, a …

The problem was concerned with determining what skills were necessary for the employment of the mentally retarded and what guidelines may be used in developing these skills in the secondary level industrial arts program. The study developed guidelines which should prove useful to an industrial arts instructor having mentally retarded students in his classroom. The guidelines were based upon the results of an industrial survey and available literature.

The purpose of this study was to examine the efficacy of an ancillary procedure, the Mowrer imitation paradigm, in conjunction with an ongoing generalized imitation program. It was hypothesized that the ancillary program would accelerate the acquisition of vocal imitation relative to a situation In which the generalized imitation procedure was employed alone.

This study investigated what relationship might exist between the parents' view of their interactions with their children and the degree of person orientation in their children's vocational interests. The hypotheses of this study were that the parents of subjects with toward-person-oriented vocational interests would perceive their interactions with their children as being more loving and overtly attentive than parents of subjects with away-from-person-oriented vocational interests. It was further hypothesized that these differences would be greater for males than for females.

The purpose of this study is to apply Kenneth Burke's dramatistic method' of analysis to Tennessee Williams' play The Night of the Iguana.

The problem of this study was to determine what are the maintenance practices and to what extent are they being used by industrial arts teachers in the subject areas of woodworking, metalworking, and drafting at the secondary level in the state of Texas.

Observations of decreases in plasma volume, shifts in plasma and lymph protein concentrations, and increases in capillary permeability at high altitude have been reported in the literature by several investigators. This investigation was begun in an attempt to elucidate the possible significance of these phenomena in future space exploration, and because of the lack of knowledge concerning the underlying mechanisms. The purpose of this investigation was to determine the effects of exposure to hypobaric pressures on the capillary permeability to the normal plasma and lymph proteins.

This investigation is concerned with the determination of the exact nature of Anglo-Spanish relations during World War I. It examines the nature of these relations in an attempt to define Spain's commitment to her neutrality policy and the amount of pressure placed upon Spain by Britain in order to force Spain to adopt a policy of at least "benevolent neutrality." Most historical accounts heretofore have accepted the idea that Spain simply refused to abandon her neutrality policy.

This thesis is a study of semitopological groups, a similar but weaker notion than that of topological groups. It is shown that all topological groups are semitopological groups but that the converse is not true. This thesis investigates some of the conditions under which semitopological groups are, in fact, topological groups. It is assumed that the reader is familiar with basic group theory and topology.