This research project evaluates the effectiveness of specific music theory instructional strategies in terms of D. A. Kolb’s theory of experiential learning and Kolb’s typology of individual learning style. The project provides an original methodology for the adaptation of music theory instructional material to the individual learning style types described in Kolb’s typology. The study compares the relative effectiveness of two music theory instructional sequences, one of which is adapted for all of the learning style modalities described in Kolb’s typology, and the other adapted for only a limited number of Kolb’s learning style types. In order to compare the potential “learning outcomes” produced by these instructional sequences, a detailed study is proposed, in which computer based instruction (CBI) will deliver the instructional sequences to research participants and electronically record the participants’ responses. The current study demonstrates the effective aspects of the original methodology and suggests methods for the successful adaptation of music theory instructional material to individual student learning styles.

This paper analyzes Carl Nielsen's Concerto for Flute and Orchestra. Marilyn Seale Depp identifies the significance of the piece and explores its melodic development, also providing background on Carl Nielsen's philosophy and composition style.

This paper traces the genealogy of the Hotteterre and the Chédeville families through a translation of three works by Jules Carlez, Ernest Thoinan, Nicolas Mauger. Carol Padgham Albrecht annotates these translations with biographical information and highlights the contributions of the instrument makers.

This paper provides a biographical tribute and analysis of the life and music of tenor saxophonist Sonny Rollins, who is known as one of the greatest jazz musicians. John Gunnar Mossblad explores the man's past, travels, and contributions.

This paper discusses the song cycle Despite and Still by Samuel Barber, created with three poems by Robert Graves, one poem by Theodore Roethke, and part of Jame Joyce's novel Ulysses. Phyllis Bush Thomas describes the feeling created by the song cycle and the compositional style of Samuel Barber.

This paper discusses the handling of Double Bass in the chamber music written by Gioacchino Rossini and Franz Schubert. Russell Clark White provides historical background to the importance of these contributions before delving into musical analysis of the individual bass parts of these pieces.

This paper discusses the pianist problems in the fifth sonata created by Alexander Nikolayevich Scriabin and provides historical background to the works of the composer before analyzing his work.

This paper highlights aspects of unity in Ludwig van Beethoven's Piano Sonata Op. 81A. Jannis M. Peterson provides historical background to the work, identifies the problem of unity, and analyzes the piece.

This paper explores the history and creation of Maurice Ravel's Valses nobles et sentimentales and its predecessors. Walter M. Coldewey explores the waltz and its expression through Maurice Ravel's work, as well as the works that influenced him.

This paper explores the connection between the Commedia dell'arte and the opera buffa genre and asserts that performers should be aware of this connection. John Arden Hopkin explores the history of the Commedia dell'arte and the rise of opera buffa.

This paper explores the development of the practice of etudes and provides technical solutions for Frédéric Chopin's Etudes, Op. 10. David McKamie explores each etude in turn and considers various methods to perform them.

This paper discusses the origin of literary and musical ballads and focuses on analysis and interpretation of the four Chopin ballades. Jill Beth Street also discusses how to perform these ballades based off of this interpretation.

This paper analyzes Ralph Vaughan Williams' Songs of Travel and asserts that the songs are a song cycle rather than just a collection of songs set to to the poetry of Robert Louis Stevenson. Richard Porter Cole performs a musical and poetic analysis of the songs and makes suggestions to aid performers of the piece.

This paper analyzes Hector Berlioz's song cycle Les Nuits d’été, Opus 7, for the purpose of performance. Along with musical analysis, Anna Ruth Stone also provides background about the poet Théophile Gautier and describes the appeal of the Berlioz's song cycle.

This paper explores the influence of French surrealism in the composition of La Courte Paille by Francis Poulenc. Martha Ann Pampell discusses the history of the surrealist movement, Poulenc's style, and provides an analysis of the piece.

This paper explores nine German art songs composed by Robert Alexander Schumann, songs that were solo settings of the poems of Robert Burns. Paula Shaneyfelt Spencer provides historical background to this detailed analysis of the songs.

Thesis explores the vocal music of the Comédies-Ballets written by Jean Baptiste Lully and Jean Baptiste Molière. Susan Kaye Schafer provides historical context to the collaboration between Lully and Molière and investigates the content of their work.

This paper analyzes Johann Sebastian Bach's Cantata No. 52, Falsche Welt, dir trau' ich nicht. Janette Cook Williams presents findings on the evolution of the sacred solo cantata and examines the style of Bach's work.

This paper discusses the portrayal of the character of Carmen in the novel written by Prosper Mérimée and in the opera written by Georges Bizet. Sharon Grahnquist provides historical background to the character and her creation, and offers and interpretation of the intended performance.

This paper discusses the nature and significance of the baritone title roles in the operas of Giuseppe Verdi. These operas include Nabucco, Macbeth, Rigoletto, Simon Boccanegra, and Falstaff. Jewel William Hobbins explore the evolution of vocal roles and asserts that Verdi highly prized dramatic skill in his performers.

This paper analyzes the soprano arias in three of Franz Joseph Haydn's oratorios, which are Il Ritorno di Tobia, Die Schöpfung, and Die Jahrezeiten. Deborah Thomas analyzes Haydn's oratorio style and attests that development is reflected in the soprano arias.

This paper explores the French mélodies written by Henri Duparc and includes a historical background of both Duparc and the mélodie as a type of song. Carol Tagg explores the roots of the mélodie and how influences of the Romantic movement are reflected in Duparc's work.

This paper explores the development of the hautboy, or early oboe, and highlights the prominent oboe virtuosi of eighteenth-century England. Jennifer Bauer Morgan explains the lives and abilities of the performers and the evolution of the oboe.

This paper provides an analysis of Maurice Ravel's song cycle Cinq mélodies populaires grecques and "Tripatos." Pamela D. Hamblin discusses Ravel's musical style of composition and investigates the background and the individuality of the songs.