The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

The purpose of this study is to develop a fourteen-week program for teaching beginning music reading through rhythmic and pitch notation to pre-school children in piano classes. The historical background for the study discusses man's learning abilities in the group process in music education with the particular reference to class piano and its development and publications by leading authorities concerning class piano and rhythmic training in the classroom. The second chapter contains analyses and summaries of five selected texts pertinent to the study. The findings of research of the five selected texts serve as the groundwork for the development of the program which is contained in the third chapter.

This is a stylistic study of the four versions of Liszt's Three Petrarchan Sonnets with special emphasis on the revision of poetic settings to the music. The various revisions over four versions from 1838 to 1861 reflect Liszt's artistic development as seen especially in his use of melody, harmony, tonality, color, tone painting, atmosphere, and form. His use of the voice and development of piano technique also play an important part in these sonnets. The sonnets were inexplicably linked with the fateful events in his life and were in a way an image of this most flamboyant and controversial personality. This study suggests Liszt's importance as an innovator, and his influence on later trends should not be underestimated.

The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.