Faculty recital performed at an unknown location.

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

Faculty recital performed at the UNT College of Music Recital Hall.

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

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

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

Faculty recital performed at the UNT College of Music Recital Hall.

Student recital performed at the UNT College of Music.

Faculty recital performed at the UNT College of Music Recital Hall.

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

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

Faculty recital performed at the UNT College of Music Recital Hall.

Guest artist recital performed at the UNT College of Music Merrill Ellis Intermedia Theater.

Faculty concert performed at the UNT College of Music Merrill Ellis Intermedia Theater.

Concert performed at an unknown location.

Faculty recital performed at the UNT College of Music Concert Hall.

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

Faculty recital performed at the UNT College of Music Concert Hall.

Guest artist recital performed at the Merrill Ellis Intermedia Theater.

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

A Student Recital performed at the UNT College of Music Concert Hall.

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

The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.

The Sneetches is a theater piece for children based on the Dr. Suess story The Sneetches (Random House, New York, 1961). It is scored for narrator, flute, B6 clarinet, bassoon, violins I & II, viola, and cello with optional staging. The staged version of The Sneetches requires two to six actors/dancers, appropriate scenery and props, and the active participation of children from the audience, preferably ages eight or under. The Sneetches is essentially through-composed. The overall form of the music is shaped primarily by the events portrayed in the narrative. Although individual subsections may have traditional forms, they should not be viewed as independent movements of a larger work, but rather as fragments of a whole.