A large, multi-basin reservoir (Garza-Little Elm Reservoir) in north central Texas was studied to determine the relative effects of various parameters on primary productivity. The basins were impounded several years apart, thus allowing the influence of age on water chemistry and biota to be considered. Another principal influence on water quality was secondary sewage effluent that entered one basin from a nearby source.

The problem of this study was to prepare a comprehensive family living textbook for use by high school students. The primary purposes of the study were the following: (1) to provide teenagers with factual information concerning sexuality which will better equip them to make responsible decisions; (2) to prepare young people to become better marriage partners, better parents and ultimately to produce stronger families for the future.

The National Guard in America began in the Revolutionary War. The Texas units resulted from the earlier concept and emerged in 1835 to resist Mexican oppression. Following achievement of statehood, Texas militiamen served in the Mexican War, the Civil War, and the Spanish-American War. As the twentieth century began, Texans had a long history of service in reserve military organizations in spite of a prevailing attitude of contempt for citizen soldiers held by influential regular army officials.

Light and electron microscopy were employed to study the encystment and germination processes in Azotobacter. Data obtained from frozen-etched replicas and chemically fixed cells revealed that as encystment occurs, the cells become rounded, and lose their motility.

This study was conducted to compare changes in self-concept and dogmatism among high school subjects at three levels of manifest anxiety following group vocational counseling. The related literature includes studies of anxiety as it affects self-concept, dogmatism, and group activities. Studies of the relationship between self-concept and dogmatism are also reported.

The study was a pioneering effort to research a mix of the combined principles from several different theoretical positions into one integrated model of learning, growth, and development. Sets of principles were based on Human Resource Development field theory of learning, Social Learning theory, Operant Conditioning theory, and Aversive Control Learning theory.

This investigation was designed to study the age-related differences in the survival rates of 2-to 3- and 6- to 7-month-old AKR/J mice after continuous treatment with anti-lymphocyte globulins (ALG), anti-thymocyte globulins (ATG), or rabbit anti-mouse brain serum (RAMB).

The lecture recital, presented on November 27, 1978, explored the method of "gracing" employed in the performance of solo violin sonatas in the first quarter of the eighteenth century as exemplified by an unpublished manuscript of the embellished version of Corelli's Sonata in E Major, Op. V, No. 11, by the English violinist Matthew Dubourg. A general comparison was made with other contemporary examples, including in particular Geminiani's "graced" version of Corelli's Sonata in A Major, Op. V, No. 9. Dubourg's manuscript was performed after the lecture.

This investigation was concerned with developing a procedure for using nonexpendable pattern materials in ceramic shell piece molds. Literature relating to this study indicated that nonexpendable materials, used in whole ceramic shell molds, had been limited to frozen mercury.

The problem of this study was the examination of selected case-finding approaches for locating handicapped individuals. It was designed to (1) determine the rank order of effectiveness of selected case-finding approaches, within specific census tracts, in locating handicapped individuals aged three to to twenty-one years inclusive, (2) to project the most effective case-finding approach within census tract areas with specified factors of mean income, median education level, and primary home language, and (3) to determine the probability of locating handicapped individuals by a case-finding approach other than the one determined to be the most effective.

The investigation was concerned with characterizing effects of this tumor line on lipid metabolism in DBA/1J mice and serum protein levels and cellular changes in DBA/1J and Swiss white mice. Total lipids, lipid phosphorus, neutral lipids, and changes in fatty acids were determined in liver, spleen, skin and tumor of DBA/1J mice bearing the lymphosarcoma at various days after injection of tumor cells.

Born into one of the most distinguished families in eighteenth-century England, Samuel Wesley (1766-1837) distinguished himself as a child prodigy, an ardent devotee of the music of J. S. Bach, and as a composer, performer and music lecturer. His four extant overtures, written from the year 1778 to 1824, offer an insight into his development as a composer. This edition, drawn from the Wesley manuscripts housed in the British Library, is preceded by a commentary dealing with Wesley's life, the history of the overture as an independent for, and with Wesley's place in the history of English instrumental music.

The structure of the present work is clearly described in the foregoing definition. Consisting of fourteen movements of varying length, it is primarily a vocal work for soprano, tenor, and baritone soloists, mixed chorus and an orchestra of moderate size.

A set of variations can be any length and contain any number of variations. The same set of variations also can be fashioned to resemble any musical form. On this basic premise, Theme and Variations for Wind Ensemble was written. It is a continuous one movement composition. There is a statement of a theme with five subsequent variations.

Devadasi is an abstraction of primitive dance rites for nine dancers and five percussionists. Though based on fertility rites and religious temple ceremonies, no actual representation of events is intended. It it approximately sixteen minutes and twenty seconds long, and is composed in six sections. Detailed choreography for the dancers is not included, but entrance and exit cues are shown, and the character of each dance is suggested by the music. Suggestion for lighting and costuming are also included in the score.

The composition consists of two movements: Adagio and Moderato. The first movement is mono-thematic, and is divided into three sections. The second movement offers contrast with the first by establishing an immediate tempo, dynamic, and color change.

Hegira is a work for full orchestra making use of piano as well as an augmented percussion section. The title, taken from Mohammed's flight to Mecca in 622 A.D., did suggest certain directions during the compositional process, but it does not imply a specific program for the music. The compositional process employed many techniques, including thematic transformation, serialization, rotation, contrapuntal textures, as well as the intuitive juxtaposition of material.

The composition was written as a laboratory experience in contemporary music especially for the Symphonic Wind Ensemble of the Skyline Career Development Center in Dallas, Texas. Based upon the Greek myth of Icarus, the movements are entitled, "Imprisoned", "Flight" , and "The Fall." The approximate performance time is 17 minutes, 45 seconds.

The composition is in one movement for cello and two-channel tape, requiring approximately twelve minutes for performance. The character of the work is aggressive and decisive in nature, with areas of repose occurring only at the beginning and before the conclusion. The title "concertante" is used to describe a concert-piece in which each of the two instruments.

The Variations on a Theme by Shostakovich is scored for an orchestra of 3 flutes, 3 oboes, 2 bassoons, contra-bassoon, 4 horns, 3 C trumpets, 3 trombones, harp, harpischord, piano, percussion and strings. The entire work is approximately 17 minutes in duration. The subject for the Variations comes from the Fifteenth Symphony of Shostakovich, last movement. There are many allusions to the writing of Shostakovich in terms of gesture, orchestration, and harmonic structure.

The title is intended to suggest that the work expresses the composer's innermost thoughts and feelings, even though these thoughts and feelings have no concrete realizations or programmatic connotations. It is precisely because of their abstractness that the thoughts and feelings are expressed in music rather than in words or some other concrete mode of communication. The total performance time is approximately twenty minute. The individual movements last about ten, four and one-half and five and one-half minutes, respectively.

The Serenade for Viola and Orchestra is a one-movement composition of three connecting sections with two main themes of contrasting character. The "relatedness" of the sections does not depend on common thematic material, but rather on a system whereby motives evolve out of the thematic material and from elements in preceding sections. The sonorous timbre of the viola is exploited and becomes the central tessitura for the piece. The title is representative of the lyrical nature of the composition as a whole, especially the first and third section.

The first movement material is presented by the ensemble and subsequently developed by the saxophone. A majority of the saxophone passages are supported by the ensemble with unaccompanied solo passages kept to a minimum. The various sections are based more on differences in pitch and rhythm than orchestration and harmony.

Symphony Number Five is a composition in three movements for orchestra. It is characterized by an economy of materials and a clarity of presentation of those materials. Further, the materials are expressed in a simplistic manner which avoids intricate textural content and complex melodic and harmonic structures. The symphony was chosen as a pattern of structure for this composition since it represents a microcosm of the history and development of musical style since 1760.