Computers are used in the music field for generation of sound, for composing music, for analysis of music, and for musicological applications, such as cataloguing a bibliography of music literature. These areas are relatively new aspects of computer usage, and research is being conducted to stay abreast of current technological advancements. Avant-garde composers are challenged by new advances in music. Computer-generated music is one of the new trends, but the composer is usually limited in the use of the medium for two reasons: there are no computers to which he may have access, and/or there is not enough knowledge about computer-generated music. The composer sometimes feels that he must have vast knowledge of the computer before he can attempt to use it in musical composition; however, a limited amount of investigation of computer-generated music has shown that methods can be codified to the point where great technical knowledge is not required of the composer.

This symphony was composed for the purpose of communicating with a contemporary audience and not to please some unknown colleague or future generation. Therefore, experimentation with novel media or systems was rejected in favor of a more conventional approach.

"Music for Orchestra and Electronic Tape" is an attempt to combine the instruments of the symphony orchestra with electronic sounds which were pre-recorded on tape. The composition is divided into three sections, comprising a large ABA' form with an introduction and a coda. An electronic event occurs between each section.

Oscillation for Prepared Electronic Tape and Symphony Orchestra is a multi-sectional one-movement composition with an aleatory section that has been partially serialized. The piece begins with a five-tone motif on tape which is developed by the orchestra as an introduction to Section I. The principal theme is developed by the strings and brought it to a climax. This climax is immediately interpolated by the five-tone motif slightly altered. At this point the thematic material is mutated and the orchestra goes through a harmonic texture change. The quartal harmonic treatment develops a cluster of tones that resolve into other clusters and the process is repeated to the accelerando of Section II.

The problem of investigating the possibilities of direct design transfer from plant to fabric and paper was divided into two parts. The first part is concerned with the exploration of the mechanics of the transfer. Invloved in this process are the technique of manipulating tools, of selecting suitable fabrics and paper, of determining chemicals that would facilitate the printing process and of experimenting with ways to preserve the finished design. The evaluation of the usability and durability of the finished print was based on a series of color fastness tests. The second part of this problem is concerned with the exploration of the design possibilities of the medium. The plants were tested and rated according to their visual attributes relative to the elements of design. Combinations of the successful plant prints were used to produce variations of pattern and texture. The results of the investigation were evaluated to determine the versatility of the medium as a design tool and the usefulness of the technique as a practical printing method

The real importance of the twelve-tone system would seem to lie in its structural possibilities. It combines the inherent potentialities of the theme of a movement in sonata form with those of the theme of a fugue and of variations. It creates a coherent texture throughout the single movements and the work as a whole. It is needless to say that this kind of coherence can also be achieved in serial compositions, that is, in movements in which not the full row of twelve tones, but only seven or eight or nine tones form the basic row.

The Piano Fantasy will be compared to Aaron Copland's other major piano works, the Piano Variations and Piano Sonata, to determine if he has retained his basic stylistic features, although he has employed serial principles more extensively in the piano fantasy than in the other two works and has passed through two different style periods, the "Abstract" (1929-1935) and the American "Folksong" (1934-1955).

The discovery of the production of antibiotic materials by certain members of the Actinomycetales has stimulated the study of these organisms over the last two decades, raising them from a position of little significance to one of noticeable importance. These studies include investigations concerning the physiology and biochemistry of the actinomycetes.

This study outlines the life of Carl Nielsen, and explores the symphonic elements of his work The Commotio.

Computers are used in the music field for generation of sound, for composing music, for analysis of music, and for musicological applications, such as cataloguing a bibliography of music literature. These areas are relatively new aspects of computer usage, and research is being conducted to stay abreast of current technological advancements. Avant-garde composers are challenged by new advances in music. Computer-generated music is one of the new trends, but the composer is usually limited in the use of the medium for two reasons: there are no computers to which he may have access, and/or there is not enough knowledge about computer-generated music. The composer sometimes feels that he must have vast knowledge of the computer before he can attempt to use it in musical composition; however, a limited amount of investigation of computer-generated music has shown that methods can be codified to the point where great technical knowledge is not required of the composer.

The object of this study was to compile a list of solo literature for beginning college voice students and analyze these solos for pedagogical and performance purposes. There is no lack of printed material on the subjects of singing and voice culture. But it is not readily accessible to teachers since it is extremely diversified and rather diffusely distributed throughout a variety of sources, such as books, periodicals, and scientific papers. Several lists and books containing songs for beginners have been compiled.

The purpose of this study is to make an account of the theatrical plans and activities of Margo Jones other than the productions in her theatre in Dallas and her experiences as a producer and director on Broadway.

The study is an attempt to measure psychopathic tendencies in the girl who becomes pregnant out of wedlock compared with the average non-pregnant college co-ed. This characteristic, when evidenced in a subject's personality, may be reflected in a High T score on the Pd scale of the 1MPI.

This paper discusses the influence of religious aspects in rural thought and how they played in the activities of agrarian movements and farm protest movements. The religious orientations of major agrarian reformers in Texas is discussed, as well as the similarities between Protestant religious institutions and agrarian institutions, specifically the Farmers' Alliance and People's Party of Texas.

The purpose of this study was to design a rehearsal method for presenting the historical and theoretical aspects of selected works for concert band. 1. 'What systematic approach can be designed for studying the historical aspects of a musical work? 2. What systematic approach can be designed for studying the theoretical aspects of a musical work? 3. What compositions can be used to demonstrate historical and theoretical elements? 4. What rehearsal method can be devised by applying the systematic approaches for studying historical and theoretical aspects to the selected works?

The purpose of this research is to program cycles or units of study which may be used with the Cyclo-Teacher Learning Aid, a commercial teaching machine produced by the Field Enterprises Educational Corporation of Chicago. The program will consist of the mechanics of music and will be designed for use with the seven- and eight-year-old child in primary choirs of the graded choir program of Southern Baptist churches.

"This thesis is a critical analysis of Tolkien's Elvish. This critical analysis is motivated in the same way as critiques of other aspects of literary art, such as plot, characterization, and structure. The latter are subject to critical evaluation precisely because they are a part of the writer's creative art. Elvish is also the product of the artist's creativity. The fact that Tolkien is a trained philologist and distinguished language scholar and has obviously lavished much time and effort on Elvish make this created language a valid area for analysis and criticism...in view of the extent of the available data, all that can be attempted here is a description of Elvish morphology and syntax in light of both the evidence and Tolkien's comments about it."--leaves 1-5

The primary objectives of this paper are to deal with Stravinsky's use of the trombone and to study the different methods of scoring for the instrument which he has employed in his works. In order to make this discussion more meaningful, the first chapter contains a brief history of the use and the development of the instrument from the fifteenth century up until 1900. In the second chapter Stravinsky's major works are divided into three periods, and each is individually discussed. The general characteristics common to the related major works are pointed out to provide an understanding of each period. The remainder of the paper is devoted to a study of Stravinsky's trombone scoring in three of his major works, one from each period. A concluding chapter summarizes his writing for the trombone as exemplified by these three works, and surveys the scoring for trombone in some of his other works.

In music, the term verismo usually refers to a realistic or naturalistic movement in Italian operas of the late nineteenth century. From the dawn of Italian opera four features have been manifested--umanita (humanism), sincerity (sincerity), passione (passion), effetto (not only theatrical effect but the supreme dramatic moment). The elements of verismo are among the characteristics present in the operas of Giuseppe Verdi where they reached a zenith of development. It is upon these veristic aspects, as identified in the second chapter, that the operas Cavalleria Rusticana and Pagliacci were based. Rigoletto, Il Trovatore, and La Traviata richly exhibit these elements of verismo which have been identified in the fourth chapter.

Performances of Fitrabras and the other Schubert operas have been very rare. Parts of Fierrabras were given in concert form in Vienna in 1853 and again in 1858. The first stage production was in Karlsruhe, February 9, 1897, but the music was revised for that performance by 0. Neitzel and the text by F. Mottl. The text was translated into French for a production in Brussels in 1926. A concert version was also heard in London in 1938. None of these performances, with the possible exception of the one in Brussels, was in the original version. It has always been assumed that the work could not be performed as it stands; at any rate, no one has ever tried. True, there are certain problems in production, especially in the rapid shift of scenes in the third act, but modern stage technique could undoubtedly conquer such difficulties easily.

The comparison of structural and formal traits in the concert grossi of Corelli's Opus VI and Vivaldi's Opus III will proceed in the following manner: first, the cycle as a whole will be taken up; next, the individual movements will be considered. Finally, in each instance of comparison, Corelli's music will be dealt with first.

The purposes of this survey were (1) to determine the nature of the case load of speech clinicians in Texas public school speech and hearing therapy programs, (2) to determine the type and condition of facilities in which the therapy described in item one above is being conducted, (3) to ascertain what the speech and hearing clinicians of the state believed to be essential for the effective practice of therapy, and (4) to find out what the clinicians believed to be special problems in their present facilities.

Whereas general conceptions of Menotti's style are available in various articles, none of the previous writings on this subject have attempted to give a detailed analysis of the techniques and devices used by Menotti in his operas. As has been stated, Menottils greatest asset as a composer of opera is his genius for employing a unique fusion of music and drama. The purpose of this study, then, is to isolate the various concepts and devices of composition used by Menotti and deduce how he has used them to create dramatic impact. The work chosen for this analysis is The Medium, which established Menotti as the foremost composer-librettist of modern opera.1 4 It is felt that this opera offers a cross section of the concepts and devices used in all of the operas composed thus far by Menotti.

At a very early date, it must have been apparent to the Chickasaws that their only hope of survival in the face of a steadily encroaching white man's world would be to imitate and emulate the latter's society, his Constitution, and his laws. Long before Andrew Jackson signed the Removal Act destined to uproot large numbers of peoples and result in some of the greatest mass migrations in the history of the United States, the Chickasaws, largely by a process of trial and error, attempted to sow the seeds for their plan of survival in keeping with their realization of this all-important fact. After arriving in the new land soon to be known as Indian Territory, they continued this process in the hope that their identity as a tribe and a Nation might never be lost. The Chickasaw experience in Indian Territory became indicative of a culture confronted with possible extermination by a larger and more powerful culture. Their story illustrates an intense struggle on the part of the Chickasaws to utilize and regulate the land on a tribal basis of ownership in the face of a fast encircling world which favored the concept of individual private property. One of …