The purpose of this thesis is to isolate the techniques presently being used by composers and to define and explain these techniques. The thesis concludes with a series of studies based on these twentieth-century compositional techniques for high school students in the form of warm-up and technique materials. The purpose of this study was to devise a sequence of studies designed to acquaint band members with twentieth-century composition techniques found in contemporary band literature.

The purpose of this study was to present a comprehensive analysis of the acoustical properties of the trumpet mouthpiece. The first section will be concerned with the individual parts of the mouthpiece and their interrelationship. The second portion of the study will be the physical analysis of three commonly used trumpet mouthpieces. For this study, five examples of each size have been selected. The third section will present a tonal analysis of the selected mouthpieces. These investigative procedures will attempt to recognize any relationships between the individual mouthpieces and the resulting tones.

During the first half of the twentieth century the trumpet has gained its position as a solo instrument, even surpassing its esteemed position in the High Baroque Era. With the combined efforts of performers like Herbert L. Clark, Ernest S. Williams, and Joseph Arban, and the efforts of the French school of trumpet playing, notably those of Raymond Sabarich, the trumpet has risen from a mere accompanying instrument of the Classical Period and early Romantic Era to its present place as an expressive solo instrument. In this relatively new position the trumpeter is faced with one serious problem: that is one of limited literature. The trumpeter of today is almost compelled to perform either works of the Baroque Era or solos written within the last thirty years.

The British Museum, Additional Manuscript 4918, provides an interesting insight into the sociology as well as the music of the Baroque period. This treatise was written by an unknown "music-lover," who was not a musician by profession. All that is definitely known about his identity are the initials A.D.V. that appear on the title page. The manuscript is dated 1702. In method and design this work represents the transitional character of the seventeenth and eighteenth centuries. Because the author was not a professional musician, it is important to consider the sociological aspects which influenced the writing of a treatise of this sort. A study of the development of Baroque musical treatises indicates a direct parallel with the social and political temperament of the time.

The musical compositions known collectively as the French cantata have remained relatively unknown since their popularity waned in the middle of the 18th century. In order to establish a foundation for their systematic study and to bring them to the attention of a wider audience, this survey and catalog have been prepared. The cultural mileu in which the cantatas were written, their formal structure, and principles related to their performance have been presented along with pertinent biographical and bibliographical information.

In reviewing the events of the advances of science and technology of the past two decades one is struck by the magnificence of man's accomplishments. The first moon walk televised live in 1969, the widespread utilization of color television receivers, the educational uses of sophisticated audio-visual equipment such as overhead projectors, slide projection, sound tape recorders, close-circuit television and videotape and the almost omniscient usage of television, is ample evidence to demonstrate that the tools necessary to accomplish a task are readily accessible items in this age. We are introduced to new gadgets, innovations, and events (like the moon walk) at such a rapid pace that we have become more flexible and more receptive to change; so much so that at times many of us are even blase about nearly miraculous accomplishments.

"The problem of this study was to determine attitudes toward physical activity expressed by male and female students in the required physical education activity program at North Texas State University during the 1970 spring semester."--4.

The purpose of this study is to examine the songs Tre Sonetti del Petrarca by Ildebrando Pizzetti. Effort is made to provide the performer with musical and poetic analyses to aid him in the preparation and interpretation of the songs. A consideration of the development of Italian solo song from 1822 to 1950 and brief biographical sketches of both the composer and the author of the text are included as background material. It is assumed that a detailed examination of the music and poetry will lead to a more meaningful expression in performance.

The purpose of this study is a descriptive one concerning some facets of the family setting with emphasis directed to several general questions. What is the basic family structure, i.e., what family characteristics (type of family or subfamily and the relationship to the head of the family or subfamily) characterize the aged? What is the level of family income of the aged? Finally, how do answers to these questions vary with respect to the three basic social traits of race, age, and sex?

The problem with which this study was concerned involved the identification of minimally brain-injured children. The performance on the "Birch-Belmont Auditory-Visual Integration Test" by twenty-five minimally brain-injured students was compared to the performance of twenty-five non-brain-injured children. It was found that when ages and I.Q. scores were not significantly different, and when sexes were approximately proportionate, the M.B.I. children scored significantly lower than did the non-brain-injured children. While it was indicated that the minimally brain-injured children perform less adequately on auditory-visual integration, no comparison of intrasensory and intersensory functioning was made. It was suggested that the test not be employed for sole determination of minimal brain injury, but that it may be used as a screening device quite appropriately.

The purpose of this study is to assess the relationship between job satisfaction and the level of city urbanization. Significant job satisfaction differences between employees in highly urban and in moderately urban cities are expected on the basis of past research. It is hypothesized that employees in moderately urban cities will have higher satisfaction scores than employees in highly urban cities. An affirmative finding would enhance the value of the relationships described in past research, and it would imply a basis for generalization of findings along a rural-urban continuum.

"The purpose of this study are (1) to identify some of the factors involved in this perceptual ability, (2) to devise a test to measure these factors, and (3) to determine if this test has any predictive validity."--4.

The piano first came into existence about 1709, but until the 1770's it was probably used most successfully as an accompanying instrument because of the small volume of tone it could produce. In its earlier stages the piano was not capable of producing even as big a tone as a large. sized harpsichord, During these seventy years piano builders experimented a great deal with the piano and its mechanisms, As with any instrument, some ideas were kept and improved, and others were tried and then discarded.

"This study was conducted primarily to determine how relevant the interior design curriculum at North Texas State University is from the viewpoint of the practitioners of interior design in the Dallas-Fort Worth metropolitan area."--2.

The purpose of this study is to analyze the state executive committees of the two major political parties in Texas and to present facts regarding the membership of the committees (the policy-makers) and the professional staff of the state party organization (the administrators of party policy).

This paper will examine one area of Mozart's work, the Singspiele. This study is an analysis of the principal tenor roles of Mozart's Singspiele. The organization for analyzing these works conforms to three periods in Mozart's life. (1) Childhood and Early Youth, to 1774; (2) The Period of the First Masterworks, 1774-1781; and (3) The Years in Vienna, 1781-1791. Related biographical data and historical background have been utilized in discussing each work. Because the Singspiele is a musical composition, analyses will consider music as the major source of development, using plot and character wholly as supporting features.

Mahler's use of recurring thematic and motivic elements is the topic under consideration in this paper. The subject was decided upon after a preliminary investigation into possible instances of the use of leitmotiv in Mahler's Symphony JI led to the conclusion that occurrences of that device are, at best, only matters of supposition. The study did reveal, however, a considerable number of themes and motives in Symphony 1I that could be traced directly to Symphony I. A logical question followed: Were there similar recurrences in any of the other symphonies? Further research indicated that such instances of cyclicism (a more concise synonym for "recurring themes and motives") were not only common, but were an important element in Mahler's style.

The government of any state has the responsibility of providing for the health, safety, welfare, education, and protection of its citizens. To accomplish these goals, states have created elaborate and complex administrative organizations staffed by thousands of bureaucrats. The increased demands of the citizens of each state upon their state governments for better education, highways, and increased protection are reflected both in the expansion of the agencies created to provide these services and, in turn, in requests for funds in ever increasing amounts to expand the scope of the services. The ability of a state to fund each agency's request is definitely limited; no state is sufficiently wealthy to grant every request. Rather, a state must make some judgment in the distribution of its limited resources (money) among competing and demanding sources. This requires planning and is called budgeting, which one writer has defined as "one of the major processes by which the use of public resources is planned and controlled."

The tendency for an increasing number of people to live, work, and play in metropolitan areas is perhaps the most distinguishing mark of the United States in the twentieth century. In 1961 the term, "Megalopolis," was used to describe the merging of thirty-one metropolitan areas into one supermetropolis extending in an unbroken urban chain from 'Boston to Washington, D. C.1 Other areas of the country, most notably around the Great Lakes and Los Angeles, also display similar tendencies. The purpose of this paper is, first, to operationally define "megalopolis" and, then to utilize this definition in determining the extent of megalopolitan development in the Dallas and Fort Worth Standard Metropolitan Statistical Areas (SMSA's).

The purpose of this investigation is to determine the extent and nature of criticism in the plays of Jacinto Benavente. Source material included the writings of such prominent critics of Spanish literature as Walter Starkie, Federico de Onis, Richard Chandler, Kessel Schwartz, Emiliano Diez-Echarri, Jose Franquesa, Federico Sainz de Robles, and Valbuena Prat. Twenty plays which best exemplify Benavente's criticism of society were selected from the dramatist's 172.

The purpose of this study was to investigate factors related to teaching listening in elementary school music and to make recommendations toward an ideal course of study in listening.

The purpose of this study was to prepare music theory textbook-workbooks for students of elementary school grades four through eight who are taking private music lessons in voice, piano, or other instruments. The study was prompted by the action taken first by Texas Music Teachers Association and later by Music Teachers National Association which made the passing of comprehensive music theory examinations a prerequisite for entering all student performance and contest events sponsored by these associations.

It is obvious that the Mozart Eb Major Concertos for Piano, K. 271 and K. 482, bear certain resemblances to each other. The primary conclusion of this study is that Mozart consciously looks to K. 271 as a guide for his later composition. Consider the fact that the "Jeunehomme" concerto establishes Mozart as a mature musician and wins him public acclaim. He seeks to regain public favor with the later work.

There are no records to substantiate that one of the passengers on the Mayflower brought an oboe with him in 1620, but diaries, journals, and newspaper articles document its presence and utilization in the United States a few years after that date. A reference to musical instruments occurs in the inventories of the goods of two neighboring New Hampshire "plantations" taken approximately ten years after they were originally settled. At "Newitchwanicke, ld of Julie, 1633. . . in the Great House, 15 recorders and hoeboys" were listed, while "at Pascattaquack 2d Julie, 1633," one day later, there were no less than "hoeboys and recorders 26" and "1 drume"!1 By 1635 New Hampshire had 56 oboes and recorders alone. 2