Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.

This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

This study's purpose was to investigate the differences in scores and written comments given by two appraisal groups in their evaluation of a music teacher using the Texas Teacher Appraisal System (TTAS). One appraiser group had musical training while the other group specialized in other subjects. Analyses of both group's appraisal scores showed no significant differences. An examination of the written comments revealed that both appraisal groups focused on the same aspects of the lesson and used similar vocabulary. The TTAS instrument was a consistent measure of generic teacher behaviors in the music lesson, but it did not measure specific music teaching behaviors or encourage suggestions for improving musical instruction.

Recital presented at the UNT College of Music Winspear Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree and the Master of Music in Performance (MM) degree

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

Recital performed at the UNT College of Music Recital Hall

Recital presented at the UNT College of Music Concert Hall.

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

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

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

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

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

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

This paper provides historical background for the creation of Jacques Ibert's Concertino da camera for alto saxophone and eleven instruments and analyzes its three movements. As one of the first works written for the saxophone, James Garland Riggs explains the importance of the piece.

This paper explores the impact of the organ reform movement on the construction of organs in Texas. E. Dean Beasley also explores the possibilities of further reform for the instrument.

This paper discusses the development of jazz that occurred in the Storyville district of New Orleans. Bernard Norman Rose explores the history of the area and the influences that resulted in a synthesis of music.