UNT Faculty Jazz Recital performance by Dan Haerle, Marc Johnson and Ed Soph

A jazz faculty recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT College of Music Concert Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

Guest guitar recital performed at the UNT College of Music Concert Hall.

Guest orchestra concert performed at the UNT College of Music Concert Hall.

Three works by Tippett stand together among his compositions because of their similarity of subject and performance medium. All are large works for soloists, chorus and orchestra, on meditative librettos, and intended for unstaged presentation. Only A Child of Our Time is given the genre designation "oratorio" by Tippett. An in-depth analysis of these works and the model for A Child of Our Time, Handel's Messiah, reveals that though they neither present religious subjects nor, in the case of The Vision of Saint Augustine and The Mask of Time, exhibit traditional formal divisions associated with oratorio, Tippett's works do indeed belong to the oratorio repertoire of the twentieth century.

The present study explored whether (a) positive or negative reinforcement would produce higher percentages of on-task student behavior at set timed intervals, (b) positive, negative, or total reinforcement would increase student attentiveness after reinforcement, and (c) if natural fluctuations in teacher approval/disapproval would have any bearing on percentages of student attentiveness. Findings of the 15-day study concluded that (a) positive reinforcement maintained significantly higher levels of student attentiveness over negative reinforcement, (b) negative reinforcement did not significantly lower percentages of student attentiveness, and (c) natural fluctuations in rates of teacher approval/disapproval had no apparent effect on the amount of on-task behavior in the beginning strings class.

Music printing in the United States between 1825 and 1900 was in a constant state of change as older techniques improved and new processes were invented. Beginning with techniques and traditions that had originated in Europe, music printers in America were challenged by the continuous problem of efficiently and economically creating ways of transferring a music image to the printed page. This study examines the music printing techniques, equipment, and presses of the period, as well as the progression from music type to engraved plate and lithograph stone. A study of the techniques of altering music printing plates helps explain the differences occurring in prints from the same edition and will help further our understanding of this important aspect of music historiography.

Faculty jazz recital performed at the UNT College of Music.

Program for a concert performed by Jazz Faculty on March 24, 1988. It includes a listing of the pieces performed with artists and musicians.

A guest artist recital performed at the UNT College of Music Recital Hall.

Program for a concert performed by The Adkins Trio on October 17, 1988 at the UNT Recital Hall. It includes a listing of the pieces performed with artists and musicians.

A guest artist recital performed at the UNT School of Music Concert Hall.

A faculty recital performed at the UNT College of Music Concert Hall.

Faculty Recital performance given at UNT's College of Music Concert Hall.

Convocation, including a lecture and a faculty recital performed at the UNT School of Music Concert Hall.

A faculty recital performed at the UNT College of Music Recital Hall.

A faculty and guest artist recital performed at the UNT College of Music Recital Hall.

A faculty recital performed at the UNT School of Music Recital Hall.

A faculty recital performed at the UNT School of Music Concert Hall.

Piano concert performed at the NTSU School of Music Concert Hall.

A faculty recital performed at the UNT School of Music Recital Hall.

Guest piano recital performed at the UNT School of Music Concert Hall.