The problem of the study was to investigate the comparative effectiveness of two methods of teaching harmonic dictation to beginning college music students. The methods were (1) the conventional teacher-classroom approach as suggested by Robert Ottman's Elementary Harmony, and (2) a linear programed book to be used in conjunction with a series of tape recordings.

In this study, the Anton Webern's music is considered in two groups: that which was written before Webern adopted the twelve-tone technique, Opp 1-16, and that written in the twelve-tone technique, Opp. 17-31. This division is not intended to represent an attempt at periodization of Webern's music, for the changes of style in Op. 17 are not that significant. But the fact that Webern employed the twelve-tone technique in all the works he wrote after Op. 16 makes this a natural point of division for a study of this sort. Besides the music of Webern, two peripheral areas are included in this study. No attempt has been made at an exhaustive biography of Webern, but facts relative to his life, and impressions about the person are presented. Also, to create a proper perspective for the study of Webern's which existed during the time that Webern lived and composed, is presented.

This study seeks to examine the history of the ricercare, specifically in the baroque era. In this work, all types of keyboard compositions that utilize imitative counterpoint have been examined. Late baroque fugues have been examined to determine which characteristics of the earlier ricercare remained in general use and which specific compositions contain elements causing them to resemble strongly the parent form.

The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."

The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.

The problem of this study was to determine the relationship of the self concept, ideal self concept, values, and parental self concept to the vocational aspiration of adolescent Negro males.

"The major problem that motivated this study is the fact the Negro in Houston, 1969 does not have any real political power although the potential for such power exists. The major purpose of this study is to seek answers to the following questions. First does the Houston Negro have any real political potential under the present system; if he does, what can he do with it? Second, why are there such wide gaps between the number of Negroes who are eligible to vote and the number that registered to vote and between those who registered and those who actually voted in Houston? The third question is in what election has the Houston Negro demonstrated his greatest political interest and why? And finally, is the politics of Houston based on race or economics?" -- leaf v.

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Maps -- Chapter I. The regiments and the posts -- Chapter II. Recruitment -- Chapter III. Routine at the Western posts -- Chapter IV. Rations, clothing, promotions, pay, and care of the disabled -- Chapter V. Discipline and related problems -- Chapter VI. Entertainment, moral guidance, and burial of the frontier -- Chapter VII. Conclusion -- Bibliography.

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Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance, This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and …

Today's colleges and universities are faced with the challenges of reforming their curriculums in an effort to hold a generation of students who are now demanding more than just a degree. Today prominent writers in the field of higher education point to the necessity of assessing and reconstructing college courses so that new direction will be provided. Each student entering college for the first time usually must enroll in an English composition course. Such a course offers great potential to encourage the creative capacity of the incoming student and foster an attitude of personal inquiry. The diversity of subjects and intentions which can be introduced in the beginning composition course offers a healthy reservoir of opportunity for exploring personal meaning. Introducing some of the goals and concepts of creativity may thus inspire the design of a new course given to meeting the challenges of higher education.The problem of this study was to develop a course in freshman English composition based on the theories of creativity and directed towards the development of the student's creative and critical capacity.

This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.

Four contrasting recitals were presented to fulfill the requirements for the degree Doctor of Musical Arts. The first recital contained music of miscellaneous composers. Two Preludes and Fugues by the North German Baroque composers Vincent Libeck and Dietrich Buxtehude were separated by Samuel Scheidt's Variations on the Netherlands folk song "Ach du feiner Reiter". The Brahms Chorale Prelude "0 wie selig seid ihr doch, ihr Frommen" and the Louis Vierne "Intermezzo" from the Third Symphony represented Romantic-style composition. The major work of the program was the Carl Nielsen Commotio, a large work in orchestral style. The second recital consisted completely of music by J. S. Bach. Four works of contrasting styles were presented: Concerto, Opus 3, No. 8, composed by Antonio Vivaldi and transcribed by Bach, Partita on Sie gegrisset, Jesu gtig, Sonata IV, and Fantasy and Fugue in G Minor. The third recital was the lecture recital: Registration of Orchestral Textures in Organ Music. This lecture was an attempt to deal with the contemporary problem in performance practice of registration of Romantic organ music. The trends in organ building in the twentieth century have ranged from a deeper exploration of the possibilities of the Romantic organ to the reevaluation …

This study was concerned with determining the effectiveness of play therapy as measured by behavioral changes in interpersonal relationships, mature behavior patterns, and more adequate use of intellectual capacities. Client-centered play therapy appears to have grown out of the concept that it is the relationship between the therapist and the child that brings about change and growth. Rather than diagnostic or as preliminary to therapy, the relationship itself is seen as therapy. Problems are seen not in terms of their historical past, but rather as they exist in the immediate present and in terms of the child's own means of expression. The relationship offers to the child the opportunity to experience growth under the most favorable conditions. Like its adult counterpart, client-centered counseling, client-centered play therapy is based upon the hypotheses that the individual has within himself the capacity for growth and self-direction, and that these growth impulses are released within the therapeutic relationship established between the therapist and the child. This study was conducted to investigate changes in behavior which occur as a result of play therapy and to determine that such changes do not occur in the absence of play therapy. It was a direct outgrowth of an …

The purpose of this study was to investigate the comparative effectiveness of three out-of-class procedures designed to augment a conventional classroom instructional method in a course in the fundamentals of music for elementary education students. The procedures examined were (a) conventional out-of-class study assignments; (b) out-of-class individual use of a programed textbook; and (c) out-of- class individual use of a teaching machine program. This study was concerned with measures of achievement in fundamentals of music as taught to elementary education students at North Texas State University, Denton, Texas, during the 1963-1964 school year. The measures of achievement in music were limited to the pre-test of fundamentals of music and to the post test, interim test, and retention test of fundamentals of music.

The problem of this study was to develop an instrument which would reveal whether certain fundamental philosophical and educational beliefs are held by public school teachers in the areas of elementary education, secondary education, and guidance.

The problem is to study the relationship between two personality measures, self-concept and authoritarianism, as each relates to certain academic, vocational, and biographical variables of male freshmen attending a state-supported university in the Southwest.

The problem of this study was to compare concepts of the actual and ideal roles of school superintendents as they are perceived by school superintendents and by school board presidents.

The problem of the study was to determine the effects of student use of Skill-Builder Controlled Reader training in facilitating skill development in beginning and intermediate typewriting classes at the college level.

Copper(II) and oxovanadium(IV) ions resemble one another magnetically in having one unpaired electron in their complexes irrespective of their geometrical structures and bond types involved. Copper(II) complexes with antiferromagnetic exchange are well known. On the contrary, antiferromagnetic exchange in oxovanadium(IV) complexes is rather new and not well established. Very few oxovanadium(IV) complexes have been reported to have this anomalous magnetic property. In the investigation of the magnetic properties of oxovanadium(IV) complexes, we have successfully prepared two series of new oxovanadium(IV) complexes with N-salicylideneamino acids.

The problem of this study was to determine the relationships between aptitudes and vocational and educational success and between aptitudes and vocational proficiency.