Recital presented at St. Andrew Presbyterian Church, Denton in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Men's Chorus and Women's Chorus performance at the UNT College of Music Winspear Hall, and Recital presented in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Concert Choir and University Singers performed at the UNT College of Music Winspear Hall, and Recital presented in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Choral music concert performed at the UNT College of Music Voertman Hall, and Recital presented in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Choral music concert performed at the UNT College of Music Winspear Hall.

Choral concert performed at the UNT College of Music Winspear Hall.

Lecture presented at the UNT College of Music Room 278 in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Choral concert performed at the UNT College of Music Winspear Hall, featuring Charlotte Botha (conducting) in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Concert performed at the UNT College of Music Winspear Hall, as well as recitals presented in partial fulfillment of the Doctor of Musical Arts (DMA) degree for both Charlotte Botha (conducting the UNT Women's Chorus) and Gideon Burrows (conducting the UNT Men's Chorus).

Chorus concert performed at the UNT College of Music Winspear Hall.

Chamber Wind Ensemble concert performed at the UNT College of Music Recital Hall.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Choir concert performed at the UNT College of Music Winspear Hall, as well as recital presented in partial fulfillment of the Doctor of Musical Arts (DMA) degree for Gideon Burrows (conductor).

Choral Concert performed at the UNT College of Music Concert Hall.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Choir concert performed at the UNT College of Music Winspear Hall.

Choir concert performed at the UNT College of Music Winspear Hall.

Choral concert performed at the UNT College of Music Winspear Hall; some pieces feature Natalie Reitz in partial fulfillment of the Doctor of Musical Arts (DMA) degree in choral conducting.

A choir concert performed at the UNT College of Music Winspear Hall. The section performed by the Concert Choir is presented in partial fulfillment of the degree Doctor of Music Arts by conductor Dwight Jilek.

Women's and Men's Chorus concert performed at the UNT College of Music Winspear Hall.

Orlando di Lasso is regarded as one of the great polyphonic masters of the Renaissance. An international composer of both sacred and secular music, his sacred works have always held an important place in the choral repertory. Especially significant are Lasso's Parody Masses, which comprise the majority of settings in this genre. The "Missa Ad Imitatiomem Moduli Doulce Memoire" and its model, the chanson "Doulce Memoire" by Sandrin, have been selected as the subject of this lecture recital. In the course of this study, the two works have been compared and analyzed, focusing on the exact material which has been borrowed from the chanson. In addition to the borrowed material, the longer movements, especially the Gloria and the Credo, exhibit considerable free material. This will be considered in light of its relation to the parody sections. Chapter One gives an introduction to the subject of musical parody with definitions of parody by several contemporary authors. In addition, several writers of the sixteenth century, including Vicentino, Zarlino, Ponzio, and Cerone are mentioned. Chapter Two relates biographical information on Lasso and gives a brief summary of his compositions. Attention is given to the number and type of Parody Masses by Lasso. Chapter …

The focus of this study will be the impact of Neue Sachlichkeit on Zeitoper, specifically its influence upon Hindemith's operatic output. The purpose of this paper is not to.subject these works to detailed musical analysis, but rather to place Hindemith's Zeitopern in historical perspective, examining how they were influenced by and mirrored the aesthetic atmosphere of the Weimar Republic.

John Harbison's Olympic Dances was composed in 1996 and premiered in February 1997. The work was written as a piano score before it was orchestrated for a wind ensemble of 25 winds and two percussionists.The first section of the paper focuses on the various influences that have affected Harbison's compositional style. The composer's educational background includes several prominent teachers whose instruction had great impressions. Special emphasis is placed on those characteristics of Harbison's style that are most prominent in the work with which this paper is concerned, Olympic Dances. Olympic Dances was commissioned by the College Band Directors National Association and premiered at the CBDNA Twenty-ninth National Conference in Athens, Georgia, in a collaborative performance of the University of North Texas Wind Symphony and Pilobolus Dance Theatre. The second part of the paper presents an historical overview of CBDNA commissioning projects along with a summary of the genesis of the commissioning of Olympic Dances. The primary focus of the study appears in the third section of the paper. An analysis of the four movements of Olympic Dances is presented with attention to the objective elements of harmonic and melodic structures along with a focus on orchestration and scoring. This section …