This study has three purposes: first, to point out the stylistic elements of music that are present in the piano works of Debussy and Ravel; second, to determine how the composers have used these elements; and third, to discover the effects that have been achieved through individual uses of the elements.

A. What training are senior colleges giving students in Texas to prepare them for teaching music in the grades? B. What training are junior colleges giving students in Texas to prepare them for teaching music in the grades? C. What observations can be made on training now given? What recommendations can be made for improvement? D. 'What conclusions have supervisors of music in Texas reached concerning the ability of teachers trained in teachers' colleges? E. What is the reaction of teachers who are teaching music and who have had the six hours of music required by the state department?

In this bibliography an attempt has been made to furnish references to teachers that may assist them to develop in the students: (1) an attitude of friendly interest which will help to link the Americas in mutual respect and to promote a better understanding of problems to be met; (2) to gain an understanding and appreciation of the background of South American culture of today; (3) to become familiar with the folk music as well as the concert, both vocal and instrumental.

It is the purpose of this thesis to determine the comparative differences and similarities of the accompanied violin sonatas of the two contemporary eighteenth-century composers, Johann Sebastian Bach and George Frederick Handel.

There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.

Due to the increased importance of music in everyday life, the expanding enrollment in most colleges brought on by the return of war veterans, and the ever increasing popularity of dance music, more and more schools are incorporating dance bands as part of their musical program in connection with their recreation and college promotion activities. Since this is more or less a new development, it is of interest to all school administrators to see just what is being done in regard to dance music in the schools. Therefore, it is the purpose of this study to determine the extent and usage of popular dance bands in colleges at the present time, and to present certain problems which are apt to confront the administrator of such an organization.

This thesis is designed to acquaint vocalists with the history of the solo cantata and to give a bibliography of available cantatas. Very few singers know that solo cantatas exist and little material is available on the subject in comparison to the material available on other musical forms.This work endeavors to aid the vocalist by compiling the solo cantata material that is available in the North Texas State College Library.

Advanced courses, more or less related, resulting in a research problem and a thesis are the procedures for graduate work as prescribed and accepted in most fields of study. Is it worth while to try other and possibly less accepted procedures, and then attempt to evaluate the results? For example, would it be profitable for a prospective teacher to spend the major part of his graduate work in actual teaching, to have an opportunity to do intensive work over a long period of time in collaboration with an experienced teacher or supervisor, and to choose his graduate courses so as to relate them to the teaching being done? Is there justification in giving a graduate student the opportunity to try out in a laboratory the ideas gained from academic and professional training, to have further experiences in working with boys and girls, and to develop skills in working with students and other teachers? Would the personal and professional growth of the graduate student, from his related courses, his preparation and planning for the teaching job ahead, his experiences with his students, his adaptation of previous plans to meet the needs of the actual teaching situation, the assembling of materials as …

The use of television as an aid to music education is a relatively new and unexplored field. It is so new, in fact, that to undertake a study of what has been accomplished until the present may seem at first rather premature and unfruitful. It is my belief, however, that if television is to become the prominent factor in education that has been predicted, there is a definite need for a study of what has been done to date toward the development of this new medium. This will provide the background and foundation for further experiment and use. The study shall include, therefore, a brief history of television itself, general educational experiments in television, experiments in televised music education, problems involved in presenting musical television programs, and suggestions for the development of this newest of teaching aids.

This study looks at Jehan Alain's music itself. However, it does not propose to analyze every bar of every composition but rather to point out certain melodic, rhythmic, and harmonic traits that are peculiar to this composer's style. It will also set forth facts concerning Alain's registrations and other items of special interest to organists. Upon such investigation an attempt will be made to reach a critical evaluation of Alain as a composer for the organ.

The purpose of this thesis is to discuss the piano style of Maurice Ravel, including his musical style and influences of other composers on his piano works.

The purpose of this study is to give some insight into the solo songs of John Alden Carpenter and show their position in the history of song composition in general.

This work is a study of the historical and social background, the life and the compositions of Heinrich Schutz.

In this study, the Anton Webern's music is considered in two groups: that which was written before Webern adopted the twelve-tone technique, Opp 1-16, and that written in the twelve-tone technique, Opp. 17-31. This division is not intended to represent an attempt at periodization of Webern's music, for the changes of style in Op. 17 are not that significant. But the fact that Webern employed the twelve-tone technique in all the works he wrote after Op. 16 makes this a natural point of division for a study of this sort. Besides the music of Webern, two peripheral areas are included in this study. No attempt has been made at an exhaustive biography of Webern, but facts relative to his life, and impressions about the person are presented. Also, to create a proper perspective for the study of Webern's which existed during the time that Webern lived and composed, is presented.

This study examines what makes a keyed brass instrument, early keyed brass instruments, and keyed brass instruments of today. Focuses on the Cornett, the Serpent, the Basshorn and Russian Bassoon, the Ophicleide, the Horn, the Keyed Trumpet, and the Keyed Bugle.

Draws a comparison between the piano variation techniques of Beethoven and Copland with reference only to the two works discussed herein, Thirty-Two Variations and Piano Variations, with the intent of gaining from these isolated examples knowledge of the changes in variation writing from Beethoven's time to the present.

Samuel Barber was born in West Chester, Pennsylvania, a town on the outskirts of Philadelphia, on March 9, 1910. He was the son of Samuel Le Roy Barber and Marguerite Beatty Barber. His father came from a long line of tradesmen and professional people and was a doctor and prominent citizen in the Pennsylvanian town in which his son was born. Although no musical tendencies existed on the father's side, there were numerous accounts of musical abilities in his mother's family. Marguerite Beatty Barber was a talented pianist and the sister of the celebrated contralto, Louise Homer. At the age of six, Samuel Barber began to play the piano and a year later began to compose. Although his mother helped to write down some of his first compositions, neither she nor her husband made any attempt to develop a possible prodigy. Instead, they tried to encourage him to indulge in the activities of any normal American boy.

The significance of the application of valves to brass instruments will be better understood by a brief discussion of conditions immediately preceding this innovation.

There are two major purposes in selecting Couperin's programmatic clavecin pieces for study; to prove their importance in the evolution of programmatic music and to prove the value of their study by the modern pianist. Due to the enormous number of Couperin's programmatic pieces, a detailed analysis of each piece will not be attempted in this paper. Instead, a general survey will be made.

For this study, the forms of the movements of forty-four symphonies of Mozart-those appearing in the Breitkopf and Hartel "complete" edition of his works- were analyzed. For convenience of reference, the symphonies are discussed in this thesis in their conventional numbering-that of the Breitkopf and Hartel edition- except for six symphonies that appeared in a supplementary volume and are inserted in this study into their approximately correct chronological positions.

The purpose of this study was to investigate, through stylistic analysis, the choral problems in twelve selected choruses from George Frederick Handel's oratorio, Messiah. The twelve choruses were selected for analysis in this study after consultation with several authorities in the field of choral music and on the basis that they are representative of problems encountered in the remaining choruses. Each of the twelve choruses was analyzed individually. Chapter I of this study presents the purpose of the study, the sub-problems involved, definitions of terms, delimitations, the basic hypothesis of the study, the basic assumptions of the study, methodology and the plan of the report. Chapter II of this study contains a brief biographical sketch of Handel, a discussion of the circumstances surrounding the composition of Messiah, and a survey of the Handelian oratorio Chorus. Chapter III presents the results of the analysis relevant to a discussion of each of the twelve choruses followed by a sectional presentation of the choral problems. In Chapter IV, a summary, some conclusions and recommendations are offered. Appendices A and B present reviews of selected recordings and vocal-piano editions of Messiah respectively.

A comprehensive study of all nineteenth-century New Orleans composers is far beyond the scope of this paper. There are simply too many. An attempt has been made, however, to include as many possible in the text. Others, about whom there is insufficient information to include in a narrative, have been relegated to the appendix, where they are treated in the style of a biographical dictionary. The two most important and influential composers of the century, Gregorion Curto and Theodore von La Hache, are covered individually in chapters two and three, respectively. Their music represents all three of the important aspects of composition of the era: opera, salon, and sacred music. Louis Moreau Gottschalk, probably the most famous composer and performer of the period, has been omitted from this study (other than incidental references) because he has already received considerable attention from numerous other researchers. Likewise, another composer of note, Ernest Guiraud, has been omitted because, even though a native of New Orleans, he left America at an early age and never returned. He should more appropriately be considered in annals of French music. Research in this field, a vital part of the American musical heritage, is by no means complete. …

The purpose of this study is to trace the invention and development of a greatly abused instrument, the saxophone, and its use in the symphony orchestra. The first chapter concerns the instrument's invention and acceptance. The second chapter discusses physical characteristics of the saxophone. The third chapter deals with the particular methods of using the saxophone in orchestral literature by various composers, from its use in the nineteenth century through the present. An appendix provides a comprehensive listing of orchestral literature in which the saxophone is utilized.

It would seem that the thematic structure of the sonata is at least as important as the tonal scheme, if not more so. With this possibility in mind and with the recognition that composers continue to employ "sonata" as a title, a study of the contemporary sonata seems both useful and valid.