JacobTV has spent over thirty years utilizing his interest in American pop culture as the muse upon which he creates his works. Sources of popular culture including commercials, television evangelists, political speeches, interviews, and urban pop songs have earned him the title of the “Andy Warhol of new music.” His contributions to classical music are significant and include works for solo instruments and voice, chamber ensembles, and large ensembles. This study serves as an annotated bibliography of selected pieces written for saxophone and boombox written by JacobTV. Chapter 2 provides a brief historical background of electronic music and chapter 3 describes JacobTV’s compositional style and vocabulary. The pieces included in the bibliography of chapter 4 are Believer (2006) for baritone saxophone and soundtrack; Billie (2003) for alto saxophone and soundtrack; Buku (2006) for alto saxophone and soundtrack; Garden of Love (2002) for soprano saxophone and soundtrack; Grab It! (1999) for tenor saxophone and soundtrack; May This Bliss Never End (1996) for tenor saxophone, piano, and soundtrack; TaTaTa (1998) for tenor and baritone saxophone and soundtrack; Heartbreakers (1997-98) for saxophone quartet, soundtrack, and video; Jesus Is Coming (2003) for saxophone quartet and soundtrack; Pitch Black (1998) for saxophone quartet and soundtrack; …

This thesis examines formal organization in ground-bass works. While it is true that many or even most works of the ground-bass repertoire are variation sets over a ground, there also exist many ground-bass works that are not in variation form. The primary goal of this thesis is to elucidate the various ways in which such non-variation formal organizations may be achieved. The first chapter of this work discusses the general properties of ground basses and various ways that individual phrases may be placed in relation to the statements of the ground. The second chapter considers phrases groupings, phrase rhythm, and the larger formal organizations that result. The third chapter concludes this study with complete analyses of Purcell’s “When I am laid in earth” from Dido and Aeneas and Delanade’s “Jerusalem, convertere ad dominum Deum tuum” from his setting of the Leçons de ténèbres.

Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.

In this research, an attempt is made to evaluate the music program of a typical high school in terms of its contribution to the development of pupils who show evidence of possessing musical talent. One of the aims of modern education is to help pupils develop emotional stability, desirable attitudes, and worthy ideals. In other words, the purpose is to teach pupils to feel, as well as to know and do. Music can be powerful force in fulfilling this aim. The purpose of this report is to apply the results of the Pitch and Tonal Memory tests of the Seashore Measures of Musical Talent and the results of the Kuder Preference Record to the building of a Program Music in Borger High School.

The following analysis of Franz Schubert's (1797-1828) song cycle Schwanengesang (1828) was undertaken in the hope that such a treatment of the final contributions of this important master of song literature would prove of interest to students of this field.The materials examined comprise the fourteen songs collectively known as Schwanengesang (Dying Strains), taken from the G. Schirmer's Edition of Schubert's Songs with English translations by Theodore Baker. From a synopsis of the art song concluded with critical remarks on Schubert's style and contributions to the art of writing songs, the author has proceeded to a few general statements on the song cycle itself. This is followed by an analysis of each song from the point of view of the text, the general harmonic scheme, the vocal line, and the function and type of accompaniment.

This study is to determine some means of directing and supervising practice periods of band students; and to examine the available class study materials with a view of determining their use and suitability as an aid to supervised practice.

This study of Verdi's choral style in the Manzoni Requiem includes an investigation of the bibliography pertaining to the subject, and a detailed study of the score to determine and verify the characteristics of each stylistic component, tabulating statistical material and listing examples demonstrating the various characteristics.

The problems arising in the conception, composing and perfecting of a composition may be divided into two types (1) Those connected with the composition itself; and (2) Those pertaining to the interpretation of the moods and thematic variations of the composition by the orchestra.

The subsequent study is an outgrowth of observations made during a year spent in secondary voice teaching on the college level. For the purpose of working toward a more effective and efficient secondary voice program, the following material is presented. The first part of the study is a critical analysis and comparison of six methods of voice teaching designed for, or adaptable to, class voice teaching. The second part of the study is a suggested plan for teaching secondary voice in classes, including an outline of material which could be used.

The problem which is reported in these pages represents an attempt to bring into one work a critical and analytical survey of the material currently available in the field of music therapy. There is such a wealth of new material, especially since the termination of the war, that the necessity for a new and up-to-date compilation of material is evident. The objective of this thesis is to collect general information as to the theory and practices of music therapy, rather than to secure for purposes of statistical analysis great numbers of detailed items in regard to a technique that has not yet been carried to a point where it can be standardized. However, this compilation does include some actual experiments which have been conducted in hospitals with the object of determining the effect on physical and mental patients of certain musical compositions and certain instruments.

It was this writer's problem to determine which of these two contentions is correct; i.e., to find out whether or not it is possible for a person to perceive a difference in 2/4 and 4/4 meters by listening to the accents. It was felt that a large group of college music students and faculty members should provide satisfactory subjects for this experiment. If, as a result of this experiment, it was found that these trained musicians could actually discriminate between the simple meter and its compound with any marked degree of consistency, it would then be admitted that the difference in the two meters is important. If, however, it was found that even musicians, who knew the technical distinctions between 2/4 and 4/4, could not really hear the difference in the two when the music was played by competent performers, it would then be contended that no important difference exists.

The problem of absolute or positive pitch has been studied by a considerable number of researchers. This cannot be said, however, for the problem of the element of tempo, or the normal speed of the true beat in music. The reason for this probably lies in the fact that absolute pitch can be measured quite accurately, for it is dependent upon the anatomy and physiology of the ear. On the other hand, a means whereby the innate pulse in music can be externalized so as to be capable of exact expression and measure in number, presents a challenge to those interested in further investigation of this phenomenon.

This study was undertaken to try to determine of objective measurement of certain personality traits would indicate that music students are characterized by marked differences in personality make-up. In carrying out this investigation, a group of 100 music students and a control group of the same size were used. The type of measurement used was of such objective nature that evaluations could be made by other persons on identically the same trait indicators as were used in securing information from the person himself. The fact is of great importance, as it makes possible an evaluation of a person's personality by the group in which he is striving for social acceptance. Data for this study were obtained at North Texas State Teachers College during the spring semester of 1946, using cases from the Music Department and the remainder of the college for the two groups.

The problem of the investigator is the compilation of an exhaustive list of art songs other than those dealing with subjects of a romantic or religious nature.

The problem of this study is to set forth some principles of teaching beginning music theory in Texas colleges; to survey and evaluate critically a sampling of standard theory textbooks basing the evaluation on the principles outlined; and to recommend a methodology for teaching beginning college theory.

Th study of two-piano music was prompted by an active interest in that field and a recognized need for a knowledge of its literature on the part of the writer, who, for the past five years, has devoted most of her time to two-piano work. After careful investigation it becomes apparent that no other study similar to this has yet been made, and it is hoped that it may be helpful to others with interests in common. Much remains to be done and further study would prove profitable. More information might be gained from interviews with prominent duo-pianists, as well as from examination of foreign catalogues and of recital programs given in Carnegie Hall, Town Hall, and similar music centers.

A study of the causes and remedial treatment of inaccurate singing through experimentation and research was chosen by the writer as a practical problem urgently in need of solution.

A study of the carol form immediately leads into the field of the hymn; each is a form of praise or worship. The hymn is as instinctive as life itself, and as universal as the air man breathes. Hymns to the sun god, to the many Babylonian deities, to the Great Spirit of the American Indian - these are found, along with others in all ancient literature.

The presence of musically deficient children in the music classes of elementary public schools is a well-known and a widespread situation. The problem of this study was to determine which of two methods of giving special attention to such pupils would be the more successful in assisting them to improve musically.

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.

The study of the twenty-four preludes of Shostakovitch [sic] has a three-fold significance. First, it deals with a body of music literature representing important aspects of twentieth-century music. Secondly, it is an original study since no detailed analysis of these preludes has been made. Very little has been written about this collection of short pieces, and no material is available along the line of a technical, scientific analysis. Thirdly, our subject deals with a collection of compositions written by one of the foremost living composers of today, not only of Russia, but of the entire musical world -- a man who is in the public eye at present, and in whose works the Soviet ideology is reflected.

It shall be the purpose of the writer to prepare program material appropriate for school use which will interest, instruct and contribute toward mutual understanding of both the Latin-American and Anglo-American child. This program material has been incorporated into ten musical plays, the themes, dances and songs of which have been gleaned from a great amount of reading material, stories related by Mexican people, legends told by pioneer Anglo residents of the Lower Rio Grande Valley, and ideas that have been presented by students. It is the purpose of the writer to organize this material into plays which may be of service to any teacher who intends to present a program, in the intermediate grades, dealing with some phase of Latin and Anglo-American relations.

The purpose of this study is to set forth certain principals or rules, Which, if adhered to, will be a beginning in the training of the young musician who would make the playing of dance music his profession. Be it understood that this is only an embryonic work and as such it should not be considered a final and irrevocable treatise on this topic. Actual work and development in this field will probably see many of the practices recommended herein relegated to a less important stage while items not mentioned, or perhaps mentioned and treated without undue stress, may come to the foreground of importance. It is hoped that this work will help in paving the way for a sincere and unprejudiced program of training for the young dance musician. However, before venturing into any discussion concerning dance music, it is necessary to have a clear understanding as to what fields of music are included in the term dance music.

The purpose of the following study is to make an analysis of the structural elements and stylistic characteristics of the Sonata in A Minor for violin and piano by David Stanley Smith. This analysis will include the composer's treatment of form, harmony, melody and tonality, rhythm, intellectual and emotional content, and mediums of expression.