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

Recital presented at the UNT College of Music Merrill Ellis Intermedia Theater 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 Master of Music (MM) degree.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Master of Music (MM) degree.

Senior recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Bachelor of Music (BM) degree.

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

Recital presented at First United Methodist Church in Denton, TX in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

30 Years of Vocal Jazz was performed at the UNT College of Music Winspear Hall.

Elijah was performed at the UNT College of Music Winspear Hall.

Guest artist recital performed at the UNT College of Music Concert Hall.

Guest artist recital performed at the UNT College of Music Recital Hall.

Guest concert performed at the UNT College of Music.

Guest lecture performed at the UNT College of Music.

Guest recital performed at the UNT College of Music.

Guest recital performed at the UNT College of Music Concert Hall.

Guest concert performed at the UNT College of Music Recital Hall.

Guest artist recital performed at the UNT College of Music.

Guest concert performed at the UNT College of Music Concert Hall.

Concert performed at the UNT College of Music Recital Hall.

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

The purpose of the study was to explore whether musicians experience Garner interference among the auditory dimensions of pitch and loudness. Specifically, the study explored whether the dimensions of intonation and loudness, when presented to musicians in a five-note musical pattern, were perceived as integral or separable in nature.

During Aaron Copland's long and productive life, he has written many compositions of distinction; among his piano compositions are the Passacaglia, Piano Variations, and Four Piano Blues. These three piano works were composed during a span of over twenty years and reflect many different influences in the composer's musical life. The Passacaglia, an early work, was written under the direction of Copland's teacher, Nadia Boulanger. It was strongly influenced by her and the French neoclassic school. The influence of jazz is most prominent in the Four Piano Blues, whereas the Piano Variations were influenced by Arnold Schoenberg and other composers of the twelve-tone school. This study contains an examination of each of three piano pieces mentioned, with emphasis upon aspects of thematic development, harmony, rhythm, and sonority; then a comparison between the pieces is made.

Joseph Joachim Raff, a nineteenth-century composer of Swiss-German descent, emerged during the 1870's as one of the leading composers of the symphony and was heralded by his peers as the successor to the symphonic tradition of Schumann. Of the eleven symphonies published between 186U and 1883, nine are program symphonies. Hired as an amanuensis by Liszt during the latter part of 181+9, Raff became involved in the New Weimar School surrounding Liszt, but disenchantment with their dogmas and a need to preserve his own identity caused Raff to resign his position with Liszt in 1856. Although his symphonies reflect the programmatic philosophy of the Weimar school, they also maintain a strong affinity to the classicism of Beethoven, a quality inherent in Raff's more conservative outlook. In order to become familiar with this large body of orchestral literature which is virtually unknown today, both a programmatic and formal analysis for each symphony has been presented, although in some instances the two could not be separated. The symphonies have been grouped according to related programmatic content. Because of the wider acceptance of symphonies 1, 3 and 5 during Raff's lifetime and the programmatic relationship of nos. 6 and 7 to these, form …

General-Bass in drey Accorden (1756), the first of Johann Friedrich Daube's theoretical works, is a practical instruction manual in thorough-bass accompaniment. It consists of a sixteen page preface followed by 215 pages of text and musical examples. The twelve chapters begin with a presentation of interval classification and a discussion of consonance and dissonance. Daube then explains a theory of harmony in which all "chords" are derived from three primary chords. These are illustrated with regard to their sequence in harmonic progressions, their resolutions—common and uncommon—, and their use in modulation. Seventy-two pages of musical examples of modulations from all major and minor keys to all other keys are included. Particular attention is given to the fully diminished seventh chord, which is illustrated in all inversions and in numerous modulatory progressions. Daube devotes one chapter to three methods of keyboard accompaniment. The subject matter includes textures, dynamics, proper doubling, the accompaniment of recitatives, full-voiced accompaniment, the use of arpeggiation, trills, running passages, and ornamentation in general.