In surveying the field of instrumental literature during the past one hundred fifty years it is notable that the majority of the larger orchestral works have been written ni the sonata form. This fact is the primary reason for the writers selection of the sonata form, which is employed in the Symphonic Piece in D Major.

Primarily the objective was to compose a piece for concert band in a large form with the ultimate aim of submitting the number for publication for perfromance by a college, or good high school band, with the additional hope this number might eventually be included on a high school band contest list. With the thought of publication in mind, it was necessary to cross-cue certain parts and limit the technical scope of the composition.

This thesis consists of the first movement and discussion of Symphony Number I, an original composition by Gerald Ray Haney.

The first movement is probably best catalogued as highly altered sonata-allegro in form. Exposition of the main thematic material is in the form of a fugue. The main thematic germ of this entire work may be found in the first three ascending fourths.

The problem of this study was to make a transcription of Lincoln Portrait for symphonic band. There is a drastic need for music of a better quality and music by modern composers for symphonic band.The problems of this study concern the following major phases: first, the instrumentation of the work;second an analysis from the point of view of the problem; third, a band transcription of Lincoln Portrait for symphonic band.

It is the purpose of this thesis to acquaint the reader with the various systems, materials, and people who produce the art , in order to evaluate it and to pass on the results of its research to others who may find it useful in acquainting themselves with the advertising field.

The purpose of writing the Overture for Orchestra is two-fold: first, to produce a short orchestral work in the modern idiom; second, to compose a symphonic piece within the technical scope of semi-professional orchestras such as college and civic organizations.

The first movement of the "String Quartet" opens with a gradual unfolding of the lead motive in the first six measures of the section marked "Largo." The second theme is heard in the first two measures of the section marked "Moderato" after a false start by the first violin. The third movement utilizes the essential dance characteristics of the "Minuet" marking.

"Symphonic Overture" is constructed like a symphony in miniature with the traditional sonata-allegro form used as a vehicle to expose the three contrasting actions, and to combine them into one concise movement.

John the Baptist is a passion focusing on the sufferings of John in six movements for contralto, tenor, baritone, and bass soloists; chorus of mixed voices; boys' choir; and orchestra.

The problem of classifying variations according to technical plan and stylistic treatment centers on the determination of which elements of the theme (melody, harmonic scheme, structure) are retained in each component variation and the compositional methods (elaboration, embellishment, motivic fragmentation) which are applied.

Symphony No. 1 is a three-movement work for orchestra. The movements have the following tempo indications: (I) Allegro ma non troppo, (II) Lento, and (III) Allegro giocoso. The composition is scored for 3 flutes (3rd flute interchangeable with piccolo), 2 oboes, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, contra-bassoon, 4 horns in F, 3 trumpets in B-flat, 2 tenor trombones, bass trombone, tuba, percussion (timpani, snare drum, and triangle), and the usual complement of strings.

The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.

The orchestral interpolations in this melodrama are written to support and enhance the spoken parts rather than compete with them. The alternating music and speech result in an intricately woven pattern which presents, ultimately, one dramatic picture. While the fragmented quality of the production could present many problems to a composer, Benda has woven the dramatic and the musical aspects of the composition together so well that one does not detract from the other.

The study called for the identification of a group of underachievers at the eleventh and tenth grade levels.

Parody may be defined as a humorous or sarcastic imitation of a serious piece of literature. It appears, following this interpretation, that Carlos Ordoñez composed his marionette opera, Musica Dalla Parodie d'Alceste as a parody on Gluck's Alceste. A microfilm of the original manuscript of Ordoñez was procured from the National Szecheny Library in Budapest, the possessor of the only copy of the work.

This study was an investigation of attitudes toward perceived values of physical activity among students and faculty within the Department of Health, Physical Education, and Recreation at North Texas State University. The specific purposes of this study were to determine if a significant difference in attitudes toward each of six values of physical activity exist (1) among men at four educational levels, (2) among women at four educational levels, (3) among undergraduate men who chose to major or minor in either health, physical education or recreation. (4) among undergraduate women who chose to major or minor in either health, physical education, or recreation, (5) between part-time and full-time faculty men, (6) between part-time and full-time faculty women, (7) among graduate men who work in either elementary, secondary, college, or recreation programs, and (8) among graduate women who work in either elementary, secondary, college, or recreation programs. Finally, the study was to determine if significant differences in attitudes toward perceived values of physical activity among subjects within each of twenty-six selected groups within the professional preparation program.

This investigation was concerned with the effects of electromyographic biofeedback on the muscular tension of patients diagnosed in a particular personality state. These personality traits were manic, agitated, depressed, and a comparison group.