This study's purpose was to examine and compare pedagogical opinions and suggestions regarding teaching American art-songs recommended as suitable for beginning voice students. Specific problems were to determine 1. The ten American art-songs most recommended by voice teachers for beginning students, 2. Pedagogical opinions and suggestions about these art-songs, 3. Voice teachers' general opinions and suggestions regarding teaching American artsong, 4. Ways in which their opinions and suggestions were similar and 5. Ways in which their opinions and suggestions were dissimiliar.

The purpose of this study was to ascertain what competencies professional accompanists and accompanying teachers deem sufficiently important to be included at some point in the development of a professional accompanist. Research problems were formulated to determine what differences exist between opinions of teachers and professionals regarding necessary skills in preparation of accompanists in (1) pianistic skills, (2) accompanying skills, (3) vocal skills, (4) linguistic skills, (5) knowledge of repertoire, (6) understandings in human relationships, and (7) other competencies. Data were collected by means of a validated questionnaire containing items grouped into the seven categories listed above. It was sent to twenty professional accompanists and thirty-one schools offering accompanying degrees. Seventy per cent of the professionals and 84 per cent of the schools responded. Each competency was rated first for its relative importance to a professional accompanist and then for its appropriate place in the sequence of an accompanist's preparation. A chi square comparison of responses of the two groups regarding the importance of each competency showed virtually no significant differences. Responses on appropriate stages of training were not treated statistically.

The purpose of the study was to design and evaluate materials for integrating musical concepts and stylistic concepts into the high school choral rehearsal. Need for the study was established by examining related literature and by means of a survey of Texas high school choral directors. A systems approach model of curriculum development, consisting of a ten-step procedural outline, was adopted for formulation of the study. The following criteria for the curriculum, called Integrated Musical Information for Choirs (IMIC), were set: (1) Materials should be in the hands of each student; (2) Materials would relate directly to music being performed by the choir; (3) Use of the materials should assist the teacher in organizing his/her work; (4) Teachers should be able to put materials into use without adaptation; (5) Teachers' out-of-class preparation should be minimal.

Ignacy Feliks , a Polish composer active in Warsaw, is best known for having been a colleague of Frederic Chopin while they were both composition students of Jozef Eisner. As an early nationalist composer, Dobrzynski is examined within the context of nineteenth-century Warsaw's musical culture and political situation. Dobrzynski early training was provided by his father, who was Kapelmeister at the Ilinski court in Romanow. The most important achievements of the career which followed Dobrzynskifs move to Warsaw in 1825 include second place in an 1835 Viennese contest with the Second Symphony, a German tour in I8I8, and the directorship of the Teatr Wielki in 1852. Cast in the late eighteenth-centurv style, Dobrzynski two symphonies were composed in 1829 and 1831. These works show knowledge of Beethoven's music and exhibit Dobrzynski's skill at orchestration. Symphony No. 2 in C minor, Op. 15, is the more important work because of national elements in each movement, as well as its success in a Viennese symphony contest in 1835. Although a precedent for national elements is seen in studying the development of the Polish symphony in the eighteenth and early nineteenth centuries, Dobrzynski's contribution shows an intensification of musical patriotism which was inspired …

This study's purpose was to investigate the phenomenon of hemispheric specialization for the pitch and rhythmic aspects of melody. Its research problems were to investigate the Influence of pitch, rhythm, and training on hemispheric specialization for pitch-plus-rhythm melodic fragments. A final problem was to examine the relationship between dlchotic ear scores and eye movements evidenced during melodic processing. Twenty musicians and twenty nonmuslcians, right-handed and equally divided as to gender, participated in the project. Accepted dlchotic testing and eye behavior indexing procedures were implemented to investigate each research problem. The dlchotic tape produced for the study contained five subtests In which pitch activity was variously greater than, less than, or equal to rhythmic activity.

The Stammbueh or album of Johann Stobaeus, MS Sloane 1021 in the British Library, is dated January 8, 1640. Stobaeus, its owner, was Kapellmeister in Konigsberg, East Prussia. The album contains 164 pieces for ten- or eleven-course lute, including dances, secular pieces with generic titles, and settings of chorale tunes. Other major material includes two short sets of lute instructions; instructions for singers of liturgical music; poems by members of the Komgsberger Diahterkre's; and short rhymes and epigrams, many of which concern the lute. The dissertation presents a complete modern edition of the lute music and lute instructions, with commentary; biographical data concerning Stobaeus, with background material about Konigsberg and East Prussia; a selection of poems and epigrams, featuring all poems concerning the lute; and commentary on the literary material, especially the evidence it provides that the manuscript might have been compiled in its entirety around the written date of 1640, even though the music is old-fashioned.

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.

The dissertation consists of four recitals. Three solo recitals featured a variety of selected works for bass trombone and piano by traditional and contemporary composers. The lecture recital, entitled "The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century," is a study which examines the role of the trombone, both as a solo and ensemble instrument, and the functions of the instrument in ensemble sonatas of the late seventeenth century. The trombone's use in instrumental ensembles was traced from the fifteenth century to the present. The program included selections by German composers Daniel Speer and Matthias Weckmann, and Austrian composers Autonio Bertali, Johann Heinrich Schmelzer and Heinrich Ignaz Franz Biber.

The lecture was given on July 27th, 1981. The discussion dealt with two anonymous eighteenth-century works: a Symphonia, Anon. 32b in D for two trumpets, two oboes, two violins, viola and bassoon; and a Concerto, Anon. 3 in D for trumpet, three oboes, and two bassoons. Both works are from part-books, originally owned by the Prussian General Georg von Lilien (1652-1726), which are now part of the "Sonsfeld Collection" housed in the Bibliotheca Furstenbergiana at Schloss Herdringen, W. Germany. The lecture included an examination of the origin of the manuscripts, the historical background for the works, and aspects of mixed style in the music. It also contained an analytical discussion of each work. Both works were then performed. In addition to the lecture recital three other recitals of music for solo trumpet were given. The first recital was given on November 21, 1977 and included the Concerto for Trumpet by Johann Nepomuk Hummel, and works of Henry Purcell, Halsey Stevens, and Eugene Bozza. The second recital was presented on July 3, 1978. It featured the Concerto in A('(FLAT)) by Alexander Arutunian along with works of Georges Enesco, Jean Rivier, and Allen Molineux. The third recital included works of Ernest Bloch, …