This study traces the development of the baton conductor from his earliest origin up to and including the present day. From his initial role, that of a time beater and teacher, he has progressed to that of an interpreter and creator of music.

The Mystic Trumpeter is intended to reflect and comment on the meaning of the poem of the same name featured in Walt Whitman's Leaves of Grass. Formally the individual movements are approximately simple territory ternary in form; however, cyclical treatment of the opening motive is the main structural concept of the work, and its appearance throughout the composition is controlled entirely by the recurring connotations of the poetry.

"Gethsemane to Calvary" is a sacred cantata for mixed voices and keyboard accompaniment. It is divided into six sections which are called parts. With the exception of part one which is a potpourri overture, the parts are divided into a variety of choral forms.

"Quintet for Woodwinds " is in four movements. The form of each movement is basically traditional: the first movement is in Sonata form; the second movement is a Theme and Variations; the third movement is a short Chorale; and the fourth movement is a Rondo. The themes of the movements are interrelated, giving a cynical effect.

The primary objective of this study is to write a brass method which will give the college student a thorough foundation in articulation, tone production, intonation, and other factors involved in the playing of the trumpet, French horn, bass and trombone. This brass method will be written for college level brass classes.

The String Quartet is comprised of three movements: Allegro, Adagio, and Vivace. The Allegro utilizes a monothematic Sonata Allegro form: the Adagio is through-composed, and the Vivace is a Rondo. All three movements feature a lean harmonic texture, much of the harmony resulting from linear movement, i.e. counterpoint.

The Essay for Orchestra combines three contemporary styles of melodic writing into sonata form. The exposition contains three themes. The first theme is a twelve-tone row. Unlike the usual approach to serial writing, the row is used in its original form throughout the piece and is developed by rhythmic alterations. The theme never occurs in its inversion or retrograde. The second theme of the exposition illustrates a chromatic type of melody. The third theme in the exposition is constructed of ascending and descending leaps of perfect fourths interspersed with leaps of thirds and short scale lines. The constant use of this theme throughout the development section provides the composition with a melodic unity.

Fantasy for Orchestra was first conceived as a symphony in one movement of about twenty minutes duration in sonata-allegra form. It was to include the diversity of moods and materials generally associated with the three, or four movement sonata, or symphony, as had my sonata for violin and piano. The plan of this previous work is as follows: A, Scherzo, B, Closing Theme, Development, A, Slow Movement, B, Closing Theme, Coda.

The purpose of the composition of the "Music for Chamber Band" is the creation of an extended work for an ensemble of solo wind instruments are treated as woodwind and brass quartets, with the percussion section, which requires four players, serving a subordinate function. The "Music for Chamber Band" is in three contrasting but thematically interrelated movements. The first movement, entitled "Lament," is marked "Slowly and simply" and has a mournful character. The second movement is fast and vigorous, frequently utilizing cross accents which give the impression of two or more meters performed simultaneously, and is entitled "Dance". The third movement, "Antiphon," is moderate in tempo and relaxed in nature. The form of the work as a whole can be likened to an arch which contains (or is made up of) three smaller arches.

This quartet shows the composer's development from a highly chromatic, freely melodic, un-serialized style in movement I, through a still free, but disjunct, somewhat more ordered style in movement II, to a style in movement III which makes much use of serial techniques. This last usage, however, no longer employs the twelve-tone method in a stiff and fettered manner.

A Psalm Fantasy is a cantata in three movements for mezzo-soprano or baritone soloist, chorus of mixed voices and orchestra. The orchestra comprises two flutes, oboe, English horn, two clarinets in B-flat, bass clarinet, two bassoons, four horns in F, three trumpets in B-flat, three trombones, tuba, timpani, cymbals, xylophone, harp and strings.

The Introduction is in two-part song form two-part song form with the tonality centered around d-minor.

The two basic needs which motivated this study were instructional material and instruments. By investigating these problems the writer hopes to improve not only his own techniques of teaching, but to present a useful source of information concerning the tuba. Analysis of the problem statement led to subordinate questions, or sub-problems, which may be stated as follows: 1. What do the authorities consider to be the desirable physical and mental characteristics in the tuba player? 2. How do the authorities teach the specific techniques of tuba performance. 3. What are the authorities' opinions concerning tubas and tuba mouthpieces? 4. What are the authorities' recommendations concerning instructional materials for tuba students?

The traditional major-minor tonality and the means for its establishment have been developed and used for the last four centuries, until all the possibilities of musical ideas within the given frame of tonal coherence seem now to be exhausted. Today we see a violent change, affecting the basic vocabulary of music as well as musical grammar and syntax. The possibilities of the major-minor tonality seem to be overgrown and appear to be no longer sufficiently flexible to serve the creative spirit of present-day music as basis for musical expression. Thoughtful composers and theorists, however much they may differ in their background and in their attitude toward different traits of modern music, agree in the realization that musical composition is at a crucial point of development all of over the world.

Paul Hindemeith adheres to the traditional concept of using two trumpets in his orchestral brass section. The trumpet parts are notated in concert pitch on the score implying the use of the "c" trumpet, although in actual practice, the parts are often transposed and played on the B-flat trumpet by the performer.

Although many volumes concerning the life and works of Johannes Brahms have been written, it has been found that the majority of these writings treat the material of the subject in a rather poetic and romanticized fashion. This is especially unfortunate in those volumes where the works of Brahms are analyzed with pragmatic implications, since Brahms himself eschewed the use of extramusical elements in his composition. This investigation, therefore, is an attempt to present a careful analysis of one of these compositions, the Quintet in B Minor, Op. 115, for clarinet and string quartet.

This study was undertaken with the purpose of affording some insight into the musical aims and composing methods of Hugo Wolf and of showing his position in the history of the German Lied and his contributions to the development of this form through the analysis of one part of his work. This study of the history of the Lied and examination of the Italienisehes Liederbuch of Hugo Wolf has led to certain conclusions. The first is that Wolf truly stands as the culmination of Romantic activity in the Lied form. This has been ascertained by a comparison of his ideals and techniques of song writing with those of the earlier Lieder writers, Schubert and Schumann, and of Wagner. The second is that Wolf made certain distinctive contributions to the Lied. Among these are his application of Wagnerian principles to the form of the Lied in their refinements as characterizing motives (from the Leitmotiv), free metric accents (from speech-song) and use of the accompaniment to intensify expression through faithful rendering of details of the text. Another contribution is his distillation of harmonic practices into the purest expressive materials which made possible his miniature style. Still another contribution is his elevation of …

In this thesis, Ned Rorem's Poems of Love and the Rain is analyzed, with conclusions being drawn in the sphere of musico-textual relationships within individual songs.

The purpose of this study was to analyze for reasons of interpretation the unaccompanied choral music of Felix Mendelssohn. What are the stylistic characteristics in each of the compositions selected for examination in this study? What comparisons and conclusions based on the analyses can be made concerning the character of compositional style in Felix Mendelssohn's unaccompanied choral music? What conclusions can be made concerning the interpretation of Felix Mendelssohn's unaccompanied choral music based on the compositional style of his music and an understanding of his musical attributes?

The English horn has a background of historical confusion because the instrument was built in many different shapes and was given a new name for each change of form.

The purpose of this research paper was to conduct a hospital management survey of the administration of medical services for prison inmates within the Texas Prison system. This type of survey has not been conducted within the medical services of the Texas Prison System in the past by any individual, or public or private group. Specific purposes were to appraise certain major areas in this system, to compare these findings with authoritative survey criteria, and to make recommendations based on the findings of the investigation.

This study presents a history of the development and implementation of a punched card registration system in North Texas State College. The study also covers planning stages of registration materials, and a description of the various stages and processes involved in a typical semester from pre-registration preparations through posting the student's grades to the permanent record. To help fill the need for ready reference to methods used in various institutions across the nation, this study will present a history of the development and implementation of a punched card registration system in North Texas State College, with emphasis placed upon those areas of probable major interest to other colleges faced with a similar problem. The study will cover planning stages of registration materials, and will then present a a description of the various stages and processes involved in a typical semester from pre-registration preparations through posting the student's grades to the permanent record.

The purpose of this study is to acquaint the reader with certain scales, not merely as they are used to provide the theoretical "building stones" of all music, but as they have been used as actual scale passages in the piano music of two twentieth century composers. This is a study of the use of various scales in the piano music of Debussy and Ravel. A list of the piano music of these composers which was available for the present investigation is given in the Bibliography. A careful analysis of the music has been necessary in order to determine: First, the types of scales the composer uses; second, the interpretation of the scale in its context; third, the ways in which some scale passages are employed to help project musical thought in the composition; and fourth, the frequency of occurrence of types of scale passages.

The purpose of the present study of the herpetofauna was to obtain additional information regarding the vertebrates of Denton County, and to produce a well-preserved, cataloged collection of the amphibians and reptiles for the Museum of Zoology, North Texas State University. An understanding of the vertebrate life of the county also involves an investigation of the habitats within the county that may, in part, count for the distribution of these animals. It is well recognized that the environmental areas of the county have altered vastly during the last one hundred years. This alteration is due largely to agriculture and industry. However, there are adequate numbers of natural environments, as well as newly created ones that may contribute to the distribution of the vertebrates at the present time. Therefore, the problem not only concerned the collection of specimens, but also the identification, abundance classification, general habitat classifications, and county distribution.