Five French organ composers, representative of the period from Widor to the present time, are identified in this study, and a comparative analysis of the works of each is made. The introduction includes the source of the data, the scope of the problem, the purpose of the study, the method of procedure, a brief historical background of the new French school of music, general characteristics of modern French music, and specific idioms of contemporary French organ composers, as exemplified in the works of the organists selected: Charles Marie Widor, Louis Vierne, Charles Tournemire, Marcel Dupre, and Joseph Bonnet. The compositions and musical contributions of Widor, Vierne, Tournemire, Dupre, and Bonnet, respectively, are discussed in Chapter II through Chapter VI. Chapter VII states a summary of the study and the conclusions drawn,

It is the purpose of this thesis to discuss and compare the canzoni of Frescobaldi and Froberger and to show something of their influences on their successors.

It is the belief of many tuners that the best education for the young tuner is to do apprentice work in a piano factory where he must learn all the construction of the piano from the frame work of the case to the final setting of the tuning pins. It appears that most tuners are men now in the late forties to late fifties and were either factory-trained or apprentice-trained by an experienced tuner. The situation has changed and the apprenticeship method of training professional men such as lawyers and physicians has long since been discarded as a method of education. It is now the generally accepted plan to go to a college or university where such specialized training is given or offered under the direction and tutelage of specialists, and where students learn other essential subjects, the knowledge of which is necessary to the success of any educated man or woman.

A. What training are senior colleges giving students in Texas to prepare them for teaching music in the grades? B. What training are junior colleges giving students in Texas to prepare them for teaching music in the grades? C. What observations can be made on training now given? What recommendations can be made for improvement? D. 'What conclusions have supervisors of music in Texas reached concerning the ability of teachers trained in teachers' colleges? E. What is the reaction of teachers who are teaching music and who have had the six hours of music required by the state department?