The lecture was given on April 21, 1980. The problem with which this investigation is concerned is that of gathering information on the composer Johann Hummel, the performer Anton Weidinger, the keyed trumpet, for which the concerto was written, the concerto itself, and its ornaments, and in determining the correct performance practices of the ornaments. Sources written in the middle to late eighteenth century and from the first third of the nineteenth century gave valuable insight into the facts and attitudes concerning the composer, the performer, the instrument, and the concerto in question. Other information came from present day authorities writing in texts, periodicals, and reference works.

Allen Forte's theory of pitch-class set structure has provided useful tools for discovering structural relationships in atonal music. As valuable as set—theoretic procedures are for composers and analysts, the extent to which set relationships are perceptible by the listener largely remains to be investigated. This study addresses the need for aural-perceptual considerations in analysis, reviews related research in music perception, and poses questions concerning the aural perceptibility of set relationships. Specifically, it describes and presents the results of a computer-assisted experiment in testing the perceptibility of set-equivalency relationships.

During the first half of this century, a wealth of anthem literature was published and performed in the United States that, as a result of the deluge of new publications since those years, has been either forgotten or is unknown to modern church musicians. The purpose of this study is to make the best of this music known, for much of it is still both suitable and desirable for contemporary worship. The research is grouped into six chapters that are entitled: The Quartet Anthem, "Anthems in the Anglican Tradition," "Prominent Choral Ensembles and the Dissemination of the Anthem," "Anthems by Prominent Music Educators," "Anthems in the Russian Style," and "The Negro Spiritual."

For Unto Us is a one movement work for soprano and orchestra. The text, by the composer, describes the thoughts and feelings of Mary, the mother of Jesus, as she watches the crucifixion. Mary's process of faith is traced through the sequence of dramatic events which proceed and follow the crucifixion. The work explores symbolic instrumentation, juxtaposition of harmonic languages, and extended techniques for performance and notation. The setting of the text combines traditional operatic idioms with new elements in the music. The duration of this dramatic, quasi-operatic scene is approximately nine minutes.

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.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

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.

Chamber Orchestra and Symphony Orchestra concert performed at the North Texas State University 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.