The purpose of this study was to determine and describe ways in which music education can be used in Protestant churches. During the last twenty years, participation in church music has grown very rapidly. The increase is a result of the growth of music in general. Music has become an important part of home, school, church, and community functions. This is evidenced by many facts: symphony orchestras, as well as community instrumental and choral groups have increased in number to the extent that there are more today than at any time in history; school music has taken tremendous strides since 19257 and church music programs have been developed to such a degree that they attract large numbers of people. In spite of the tremendous advance of music in general, and in the field of church music in particular, there is still much that needs to be done in church music. For example, when "Sacred Music" is mentioned to an average group of Americans, some will respond with blank and uninterested stares. Others will mention some of the well-worn sentimentalized, semi-religious songs such as "He," "The Man Upstairs," "You'll Never Walk Alone," or other examples of commercialized religion, Those people, and …

The purpose of this study represents an illustration of the techniques of public relations in music education as well as the urgent necessity for their development. Especially during; this era, American public schools are faced with the problem of providing a balanced curriculum whose chief interests lie in subjects of a scientific nature. Educators feel that this type of training is not only necessary to keep the nation ahead or equated with others scientifically, but that it is inevitably the best in preparing the student for adulthood. Public school music, in many instances, has not lived up to its responsibilities in providing the kinds of music and the type of community service it should render. Consequently, many educators feel justified in either reducing or eliminating fine arts programs in their schools. It is necessary, therefore, that the music educator study measures of encouraging musical growth in his environment, and this growth can be assured through a study of the techniques and tools of public relations.

The Revolution of 1910 in Mexico marked a great political and social upheaval. At the same time a recasting of Mexico's music occurred. Modern Mexican music is a unique combination of the influence inherited from Europe and the indigenous music of the country. This work attempts to trace the development of that combination. Chapter I gives a background of music in Mexico through Pre-Cortesian times, the colonial period and the operatic nineteenth century. Chapter II deals with the men who shaped present day music in Mexico. Chapter III is an analysis of selected twentieth century piano works. The analysis shows the tendencies of ten Mexican composers in their use of melody and rhythm. It includes a discussion of harmonic structure and tonality. The composers whose works were chosen for consideration in the analysis range from Manuel M. Ponce, considered the father of modern Mexican music, to Carlos Chavez, recognized as the outstanding exponent of music in Mexico today.

A history of the evolution of dance music throughout time and the instruments used for each type of dance.

Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the …

It is the purpose of this study to set forth facts, substantiated by investigation of authoritative sources, proving that all selections used on the concert program of a high school chorus should serve a permanently constructive purpose toward the musical growth of the students. The first part of the thesis concerns those elements which have to be taken into consideration in teaeching any high school music group These are: 1. The psychological make-up of the group in regard to age and physical development. 2. The psychological make-up of its audience. 3. The existing level of musical skill of the group as a whole. 4. The existing degree of aesthetic appreciation of the chorus and its audience. The latter part of the work specifies the aims in vocal instruction of the high school choral course. These include sight reading, breathing, tone, pitch, diction, phrasing, and interpretation. It also attempts to demonstrate how the preparation of a concert program serves to accomplish these aims. This involves a critical evaluation of each number on a proposed program in reference to the following points: 1. Psychological reception by the group and its audience. 2. Its contribution toward improved aesthetic discrimination on the part of …

Most of Domenico Scarlatti's harmonic progressions are quite orthodox when considered abstractly or free of their positioning in the score. The harmonic movement is given interest by subtle alterations in time; for example, (1) simultaneous upper and lower voices of different lengths, when repeated several times, change their relationship with each other; (2) one voice may be simply delayed so that it lags behind the other voice, thus combining to produce irregular harmonic sound on many succeeding beats; (3) the combination of two or more chords appearing on one beat is similar to number (2) but does not necessarily occur more than once.