"The study sought to answer the following questions: 1. What skills and understandings may be acquired in industrial arts courses as described in Principles and Standards for Accrediting Elementary and Secondary Schools that might be helpful to youth seeking employment in the Pampa area? 2. What is the current industrial arts program in the Pampa Independent School district? 3. What skills and understandings receive the greatest emphasis in the Pampa industrial arts program? 4. What skills and understandings associated with industrial arts do Gray County employers recommend as being helpful in the performance of jobs for which terminal students might be considered? 5. What are the employment opportunities in Gray County for Pampa Independent School District terminal students?" --p. 4

The purpose of this study is to show how standards of pitch became a matter of importance in musical performance. The existence of innumerable varieties of pitches was not an actual handicap in a time when voices were accompanied by only one instrument, or when a singer accompanied himself. But when instruments began to be used with the church organ, and ensembles were formed to play in the royal courts, a standard pitch was found to be desirable. Many factors were involved in the adjustments of pitch as small ensembles evolved into the military band and the symphony orchestra. An attempt will be made to show how many of the standards were derived, and what long lasting effects they had.

As was true of most intellectual trends in colonial America, deism originated in England and spread to the colonies. To understand deism as it developed in eighteenth century America, one must examine the roots and mature status of deism in England. Deism did not emerge as an entirely new system of thought in seventeenth century England. The disputes, schisms and wars of the Reformation laid a negative foundation for its appearance. The counter-accusations of the clergy of different sects provided ammunition for its anticlerical campaign. The Reformation itself, by its rejection of the ritualism and authority of the Roman Catholic Church, its teaching that in matters of religion each individual should use his own reason, and its putting greater stress on the ethical element in religion, was a movement in the same direction as deism. It did not, however, advance as far. To replace the authority of the Catholic Church, the Protestants substituted the Bible.

The idea of the Texas Revolution as an internal conspiracy cannot be eliminated. This thesis describes the role of a small minority of the wealthier settlers in Texas in precipitating the Texas Revolution for their own economic reasons. This group, made up of many of the leading figures in Texas, were, for the most part, well-to-do farmers, merchants, and professional men.. Most of them were slaveholders, and their prosperity depended upon the continued existence of this institution. In their minds, the entire economic growth and development of Texas rested upon slavery. When the Mexican government began to threaten the economic future of Texas by the passage of prohibitatory laws on slavery and commerce, many of the leaders in Texas began to think of freeing Texas from Mexican control. The threat to their own economic position and prosperity gave birth to the idea of Texas independence.

Sam Rayburn's record as Speaker of the House was undoubtedly his best known accomplishment during fifty years in Congress. Nevertheless he played a vital role as proponent of the New Deal during the period from 1933 to 1936 when he was Chairman of the House Interstate and Foreign Commerce Committee. Since Rayburn's role in passage of early New Deal statutes has been neglected, the purpose of this thesis is to examine his contributions to the Roosevelt Administration as leader in the debates on key legislation.

This examination of Ralph Vaughan Williams' song cycle to poetry of Alfred Edward Housman, "On Wenlock Edge," will follow primarily two avenues of approach. First, following a brief biographical sketch of Vaughan Williams' career prior to the composition of "On Wenlock Edge," will be a discussion of Vaughan Williams' and Housman's respective aesthetic philosophies. In order to lay the background for certain salient characteristics of this cycle, parallels as well as differences in their artistic thinking will be explained. Secondly, a poetic analysis will precede the musical analysis of each song in order to differentiate between the original intent of the poet and the interpretation of the poetry by Vaughan Williams.

The term creativity will be used in this paper to denote the unique imposition of the personality upon, in this case, the instrument selected and the work performed. The result of the creativity, the performance, is in the indefinable but, to a competent judge, readily recognizable area of true artistry, and represents, at best, a spontaneity resulting from interaction with unconscious processes after the conscious mastery of the technical problems of the particular instrument. For the purposes of this study, May's definition of anxiety is as good and workable as any: "Anxiety is the apprehension cued off by a threat to some value which the individual holds essential to his existence as a personality. In the case of the musician, the threatened value is his desire (and necessity, in terms of his self concept) to pursue music as a career. When his career is threatened or depreciated, the result is anxiety, which manifests itself in various forms of irrational behavior, physical symptoms, and inadequate adjustments to everyday situations.

The problem involved in this study was twofold. The first was to ascertain what the employment requirements were for a person seeking employment in the field 6f electronics as a technician in the Dallas Metropolitan Area. The second was to determine what the job opportunities were for those individuals.

Each year there is an increase in the number of art students who transfer art credits from Texas junior colleges to North Texas State University. The lack of standardization in the junior college art courses indicated an area of investigation in which some procedures might be suggested in order to secure greater continuity and unity between the art curricula of the Texas junior colleges and that of North Texas State University.

Gases at satisfactory pressures fluoresce in the presence of radio frequency radiation (6). Such fluorescent gases have been used to probe fields of radio frequency oscillation and their emission spectra have been recorded and studied. Ions with multiple charges also exist in these gases, (6). In 1941 Oliver (12) observed the fluorescence of an isobutane- isobutene gaseous mix flowing to a pump through a glass tube which was wrapped by a spiral antenna of a sevenmegacycle transmitter. A white deposit was noticed at a bend in the tubing on the pump side of the fluorescing section of the gas (12, p. 8). In 1957 Blacknall (3) studied the fluorescence and reaction products of propylene in the antenna region of sevenmega- cycle radiation, The oscillator employed by Blacknall was an ARC-5/T-22 military surplus transmitter of range 7.00 to 9.10 megacycles, which he operated at 7.00 megacycles. Blacknall observed a drop in pressure and the formation of a brown deposit in the region of the coil. Blacknall did not report an analysis of this product. In 1959 Armstrong (1) repeated Blacknall's experiments and modified Blacknall's apparatus into an improved design. He also performed an analysis on Blacknall's product. Blacknall used a vertical …

Except for a group of three songs, the two piano concertos were the last things Ravel wrote. They have been said to be the culmination of Ravel's style; and, since they were written simultaneously, much attention has been drawn to a comparison of the two, particularly with emphasis on their divergent features. It is the purpose of this paper to show the interesting circumstances under which these concertos came to exist, to acknowledge the differences recognized by authors and critics, and to point out some important ways in which these concertos are similar to each other.

The purpose of this study was to investigate the comparative effectiveness of three out-of-class procedures designed to augment a conventional classroom instructional method in a course in the fundamentals of music for elementary education students. The procedures examined were (a) conventional out-of-class study assignments; (b) out-of-class individual use of a programed textbook; and (c) out-of- class individual use of a teaching machine program. This study was concerned with measures of achievement in fundamentals of music as taught to elementary education students at North Texas State University, Denton, Texas, during the 1963-1964 school year. The measures of achievement in music were limited to the pre-test of fundamentals of music and to the post test, interim test, and retention test of fundamentals of music.