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This study investigated what impact ethnic music had on ethnic menu item selection. College students were randomly divided into three groups and listened to one randomly assigned sound treatment in sensory booths. Three hundred and five participants completed the questionnaire with measures of expected price value and willingness to pay value. One of the groups listened to an Italian folk music, the second group listened to a Thai folk music, and the third group listened to a restaurant background noise in order to examine if the music will impact each participant menu items selection and perceived price values. The result of the study showed that Italian music had a significant influence on the participant's intention to select Italian cuisines. Similarly, Thai music showed some form of relationship between Thai music and Thai cuisine selections.

Managers of consumer goods companies (i.e., restaurants, grocery stores, and bars) have the potential to effectively utilize environmental factors to stimulate desired consumer behaviors. Background music has been identified as one of the most readily manipulated and influential elements to which a shopper or consumer may be exposed to in a service setting. Nevertheless, little is known about the effect of background sound on food perception and acceptance. This research sought whether background music genre and musical components can alter food perception and acceptance, but also to determine how the effect can vary as a function of food type (i.e., emotional vs. non-emotional) and source of music editor (i.e., single vs. multiple). In Experiment 1, single and multiple editors transposed the traditional music piece, "Air on the G String," into four genres: classical, rock, hip-hop, and jazz. The same music piece was edited into contrasting ends of musical components of tempo, pitch, and volume for Experiment 2. According to a preliminary survey centering on the association between food and emotion, milk chocolate (emotional), and bell pepper (non-emotional) were selected as food stimuli for both experiments. Following consumption, participants rated flavor intensity, flavor pleasantness, texture liking, and overall liking using 15-cm line scales. In Experiment 1, participants liked food stimuli significantly more with the jazz stimulus as opposed to the hip-hop stimulus. Ratings of flavor pleasantness and overall impression for food stimuli only differed between the single editor genres. In Experiment 2, participants liked bell pepper flavor and texture significantly more with the fast tempo versus the slow tempo stimulus. Ratings of chocolate texture and bell pepper overall impression significantly heightened in the low pitch condition. In the loud volume condition, participants' evaluated flavor pleasantness, texture impression, and overall impression of chocolate significantly higher in comparison to the quiet and silent conditions. In summary, the present thesis presents new empirical evidence that music genre, components, and editor, along with food type can modulate food perception and acceptance. Furthermore, our findings assist food service industries in creating the most appropriate atmosphere by explaining observed consumer behaviors induced by musical stimuli.

Fight or Flight is a one-act, science-fiction opera. Outwardly the story of an astronaut who is marooned on the Moon, this dark comedy is an allegorical tale of forced isolation and loss; and of the anxiety and sadness that inevitably result. Musically, this piece began as an experiment in the reverse-engineering of mostly improvisatory methods of musical spoken-word delivery such as rap or slam poetry; this compositional device being a means to the more important end of creating a live musical theatre lacking the flippant sparkle commonly associated with Broadway and the like, but also free of the "intellectual" or "academic" heft often perceived to be inherent in common practice period opera.

This document explores A Chant from the Great Plains by Carl Busch. As the winner of American bandmaster Edwin Franko Goldman’s composition contest in 1919, this work helped launch the tradition of commissioning upon which the repertoire of the modern concert band medium relies. Inexplicably, Busch’s piece fell into obscurity and has become so rare that the primary researcher on Carl Busch, Dr. Donald Lowe, was not able to view any of the music while compiling his research with the exception of citations and articles. This document provides a rationale for the revival of the work in both scholarship and performances. Its origins were explored, as well as its historical significance and compositional craft. This document also provides a suggested instrumentation for performance, as well as a formal analysis of the work. Recommendations were also made for the creation of a critical edition for the modern wind band. A Chant from the Great Plains helped begin the trend of accomplished composers viewing the wind band as a musically viable medium in the twentieth century. The historical and professional importance of this work warrants further study and the potential creation of a new critical edition. Adviser: Carolyn Barber

The Ephesus Seventh-day Church, one of the first Black SDA churches that were formed in the New York City area during the late 1920s and early 1930s, is one church that has been faced with the challenge of maintaining traditional repertoire and musical practices, while including more popular genres and styles that lay outside the SDA guidelines. Located in Central Harlem, Ephesus is surrounded by the cultural and historical influences within the Harlem community. The Ephesus Church, based on extant hymnals and the recollections of church members, continued in the Euro-centric musical traditions of early SDA churches until the 1960s, when it began to explore African-inspired musical practices. Around 1970, close in time to the SDA 1972 Music Guidelines were instituted, a struggle between Euro-centric versus Afro-centric musical cultures became apparent. Following introductory chapters on the history of African-American membership in the SDA Church from the 19th century to the early 20th century and early musical leaders of Ephesus Church, the musical practices of Ephesus from 1970 to 2010 serves as the focus of this study.

Music is a powerful modality that can bring about changes in individuals of all ages. This research employed both an experimental and quasi-experimental design to identify the effects of music as it influenced psychological well-being, memory, and cognition among older adults. Specifically, it addressed three aims: (a) To determine to what extent learning to play a music instrument later in life influenced psychological well-being and cognitive function of non-institutionalized healthy seniors, (b) To determine the effects of the amount of music involvement on psychological well-being and cognitive function (c) To determine the benefit of music for those with limited/no music experience. For the first aim, it was hypothesized that individuals in the experimental music group would maintain and/or improve psychological well-being, memory, and cognitive function more than those assigned to the wait-list control group. For the second aim, it was hypothesized that participants with extensive music involvement would have higher scores on cognitive ability measures and experience greater psychological well-being than those who had not been actively involved in music throughout their life. For the third aim, it was hypothesized that the participants with limited/no music involvement throughout their life would have a larger change on the psychological well-being measures and cognitive assessments than those who had more music involvement. For the experimental portion (Aim 1), the study employed a 6-week music intervention with non-institutionalized older adults. The quasi-experimental portion (Aims 2 & 3) divided participants according to their amount of time involved in music and then looked at psychological well-being and cognitive function. This dissertation did not show a strong connection between music, memory, and cognition so it did not achieve the desired overall results. However, the findings did suggest that music may modify some areas of cognitive function (verbal learning, memory, and retention) and psychological well-being but did not influence other areas (playing a music instrument for any length of time). Therefore, the findings of this dissertation can be a basis upon which future research relating to music, cognitive functioning, psychological well-being and involvement in music can build.

Self-care can be seen as not only critical for individual professionals, but also for the growth of the helping professions and the quality of care which clients receive. The purpose of this study was to investigate use of career-sustaining behaviors and the levels of professional quality of life in music therapy professionals. This study investigated research questions regarding use of career sustaining behaviors and levels of professional quality of life, the relationship between these variables, the differences in the use of career sustaining behavior by demographics, and the use of music as a self-care strategy. An online survey was sent to all professional members of the American Music Therapy Association. A total of 403 participants were included in the study for the purposes of data analysis. Findings from the study indicate that music therapy professionals are in the average to low ranges for burnout and secondary traumatic stress. However, a portion of the sample was identified to be at risk for these factors. Differences existed in the use of career sustaining behaviors between demographic variables, indicating self-care behaviors vary among professionals. The field of music therapy should further investigate these areas to best provide opportunities for professional self-care.

The predominant purpose of the study was to investigate whether or not there is a relationship between singing intonation and string playing intonation among college level and professional string players in Northern California. For the purpose of this study a convenient sampling method was used to recruit participants according to their availability. Thirty college-level and professional string players from the Bay Area participated in this study (n=30). For the purpose of this study, only violin, viola and cello players have been included. The investigative variables for the study are singing intonation and string playing intonation. Intonation has been assessed. through participants' singing and playing. A computer program, called Melodyne, was used to analyze the recorded performances of the participants and determine the magnitude and direction of deviation for both played and sung pitches. The study included a 15 minute individual task after which subjects' intonation has been assessed in two dimensions: string performance intonation and singing performance intonation~ The participants were assigned an eight-measure singing excerpt adapted from the National Anthem of the United States of America, as well as another eight-measure excerpt designed specifically to assess string performance intonation. The subjects were individually audio-recorded and the audio files were analyzed using Melodyne to determine whether or not there is a relationship between singing intonation and string playing intonation. Pearson product-moment correlation coefficient has been calculated to determine the degree of relationship between singing intonation and string playing intonation of the participants.

An informative compilation of Voice Recitals at the UNL School of Music categorized by Masters, DMA, and Faculty recitals from 1988-2012. Information includes: composer, work title, song title, performer, performance date, instrumentation, audio availability, and online program link. "Download" button links to pdf version of file. Spreadsheet version (.xls) is attached below as "Related file." ".xlr" files are spreadsheets and can be opened from MS Excel.

Although American choirs have been performing Allen Koepke’s compositions since 1973 and his music is witnessing greater and greater international appeal, especially in Asia, academic writings about the composer and his contribution to the choral art have been absent. This document examines Missa Brevis, the seminal work by Allen Koepke, and serves as a conductor’s guide for score study and rehearsal preparation. It will address practical problems unique to the work and will suggest solutions that will ensure excellence in its performance. A biography, a complete catalogue of the composer’s large number of choral works in print, a listing of works not published, a chapter that focuses on Allen Koepke’s compositional career, a transcript of interviews with the composer, and a score of Missa Brevis are included. The purpose of this document is to not only be a resource for conductors regarding Allen Koepke’s choral oeuvre, but also guide them as they seek to present successful and informed performances of Missa Brevis. Adviser: Peter A. Eklund

Melodic dictation has long been a daunting task for students in aural skills training. Research has found that interval identification is a factor when taking melodic dictation. Research has also found that some intervals are easier to identify than other intervals. The goal of this thesis is to determine whether the difficulty of melodic dictation examples can be categorized by their intervallic content. A popular aural skills text was used as the source for the melodic dictation examples. The adjacent intervals in each melodic dictation example were counted and recorded by interval type. The analysis of the melodic dictation examples according to their intervallic content was then performed using an SPSS two-step cluster analysis. Two clusters emerged, proving that there were natural groupings within the data. Cluster 1 examples contained mostly conjunct motion, i.e., intervals of a m2 to M3, while cluster 2 examples were characterized by their disjunct intervallic content, i.e., intervals of a m6 to M7. Melodic dictation examples of both clusters were found to appear throughout the textbook organization, with the exception that no cluster 2 examples were found in the beginning units of the text. Other variables that were tracked were whether an example was composed (C) for the text or derived from music literature (L), the unit and melody number, and total number of intervals per melody. Rhythm was not observed.

Louis Moreau Gottschalk was a nineteenth-century American piano virtuoso and composer. In 1841, at the age of twelve, Gottschalk left his native New Orleans to pursue a formal musical education in Paris. During his sojourn, Gottschalk gained fame for his piano music, in which he claimed to portray creole culture, more specifically the songs, dances, and rituals of Louisiana slaves. Nineteenth-century music critics were all too eager to crown Gottschalk as the first great American composer. In the present era, his music is still a source of national pride. I propose that Gottschalk's music is not necessarily an accurate representation of American musical idioms. Instead, it should be understood as a semi-authentic attempt by Gottschalk to market himself to the Parisian audiences and their craze for exotic cultures. To illustrate this argument, I look extensively at Gottschalk's creole compositions written while in Paris. In Chapter One, I focus on Gottschalk's Bamboula: danse des nègres, his first creole piece, which fueled the success of his early career. In Chapter Two, I discuss three prominent piano virtuosos performing in Paris during the 1840s. I show that Gottschalk modeled much of his career on the music of Frederic Chopin and that he was rather critical of Franz Liszt and Sigismond Thalberg. Gottschalk's compositions then reflect Chopin above the other Parisian virtuosos. In Chapter Three I examine the pieces Gottschalk composed after his return to the United States in 1853. This includes The Banjo, arguably his most famous work. My argument here is that the pieces composed during this period provide a more accurate picture of nineteenth-century American music than Gottschalk's earlier creole compositions. Gottschalk spent many years of his life traveling throughout France, Spain, the United States, and the Caribbean, and each of these locations influenced the composer in different ways. His music should not then be understood as specific to the United States, instead it should be seen as parallel to the cosmopolitan tendencies of other nineteenth-century exotic composers.

Research concerning cognitive processes for tonic inference is diverse involving approaches from several different perspectives. Outwardly, the ability to infer tonic seems fundamentally simple; yet it cannot be attributed to any single cognitive process, but is multi-faceted, engaging complex elements of the brain. This study will examine past research concerning tonic inference in light of current findings. First I will survey the recent history of experimental research in cognitive functions for memory retention and expectation as they relate to the recognition and learning of musical schemas. Then I will discuss distributional theories associated with the tonal hierarchy of major and minor key profiles and compare them with functional aspects of the intervallic rivalry model and 4/5 opening rule in order to demonstrate how they are not mutually exclusive for the inference of a tonic pitch. This will be followed with suggestions for instructors of music theory and aural skills in light of findings concerning cognitive aspects for inferring tonic. Advisor: Stanley V. Kleppinger

This study is an update to the 1978 thesis of Acton Eric Ostling, Jr. and the 1993 replication study by Jay Warren Gilbert. These two studies explore a process for evaluating specific compositions, from a selected list, against a set of ten criteria defining serious artistic merit. This study reevaluates those compositions that met the criteria in the previous studies, as well as those compositions that were within ten points of meeting the criteria in the previous studies. Additional compositions, especially those composed since 1993, are also included. The study utilizes eight procedures for accomplishing its objective, including defining the ensemble, setting parameters for the types of compositions to be evaluated, formulating a method for creating an expansive list of included compositions, and selecting expert evaluators. In all, a list of 1,680 compositions, using 589 compositions from the previous studies as a foundational core, were evaluated in this study. The core included the 362 works from the Ostling and/or Gilbert studies that met the serious artistic merit criteria. These 1,680 works were evaluated against the ten criteria defining serious artistic merit that were created in the original study by Ostling. A select panel of wind-band literature experts, using a modified five-point Likert scale, rated the list of compositions. From this data, 144 compositions were identified as meeting the criteria for serious artistic merit while being known to at least a majority of the evaluator panel. A further 161 compositions met the criteria but were only known to a small number of evaluators. An additional 188 compositions were also distinguished because they were known to at least a majority of the panel and were within ten points of the serious artistic merit delineation. Finally, comparisons are made between the three studies, and eighty-nine compositions are proposed as a beginning core foundation in the wind-band repertory on account of having met the serious artistic merit criteria in all three studies. Adviser: Carolyn Barber

The purpose of this study was to describe the current status of students with special needs in the instrumental musical ensemble and to examine the effect of selected educator and institutional variables on rates of inclusion. An online survey was designed by the researcher and distributed electronically to 600 practicing K-12 instrumental music educators in the states of Idaho, Mississippi, Nebraska, Nevada, New Mexico, and Rhode Island. While 13.6% of the total school-aged population nationwide received special education services, demographic data provided by respondents revealed that students with special needs accounted for 6.8% of all students participating in bands, orchestras, and other instrumental musical ensembles. The relationship between the rate of inclusion and selected educator variables (gender, age, level of education, special education coursework, primary teaching area, and teaching experience) and institutional factors (geographic location, community setting, institution type, and student population) was examined using multiple regression with backward elimination. The institutional factor ‘student population’ was found to be a significant predictor of inclusion; as the overall school population increased, the rate of inclusion among students with special needs in instrumental music classes decreased. Respondents also indicated that instructional and administrative aspects of teaching (scheduling, funding, allotted planning time, etc.) played a limited role in their ability or inability to include students with special needs. In the observations and experiences of instrumental music educators, special education students were most accomplished in the areas of public performance, exhibiting acceptable behavior, and movement, while the ability to sight-read, perform and/or read rhythms, and memorization were more problematic. Although 42% or respondents had no college coursework in special education, 97% were currently teaching students with special needs and most were willing to provide students with a variety of accommodations. Advisers: Brian Moore and Glenn Nierman

The purpose of this study was to examine kinds of professional growth activities employed by music teachers in Nebraska schools.   A survey was administered to Nebraska K-12 music educators (N = 1,144), with 456 responding. Data gathered related to respondents’ past professional growth participation, projected involvement, opinions and preferences, and information concerning perceived barriers. A review of literature focused on factors related to professional growth. This review provided insights into professional growth practiced by music educators. Literature reviewed reflected perspectives on meaning of professional growth for educators. Findings yielded insight into the state of professional development among Nebraska music educators. Continuing education and local in-services were commonly reported choices. Lack of money and time were frequently mentioned as barriers to professional growth. Continuing education and professional conferences were preferred, although their nature is short-term. Teachers with less teaching experience had greater tendency to pursue professional growth than veterans. Results indicated no statistically significant difference in likelihood of participation by gender, highest degree held, grades taught, teaching certification area, or location. Short-term professional growth opportunities are sought, although long-term activities have a longer-lasting impact. Study results indicate music educators face issues confronting their professional development. Issues include frequent changes in technology, availability of funding, and shifting student demographics.  The viability of music education in the public’s perspective and the idea that professional development is optional are additional challenges. Relevant professional growth activities are needed that are prototypical, yet malleable, and designed to improve instruction and student learning, shaping lifelong learners. Adviser: Robert H. Woody

Known primarily as a composer for the wind band, few American composers have received the notoriety and widespread acclaim that David Maslanka has since 1970. His works for wind ensemble are now considered standard repertoire and are played frequently by high school, college-level, and professional ensembles alike. Additionally, his works for chamber groups and soloists have continued to gain in popularity.  As of the writing of this document, Maslanka has composed concertos for saxophone, euphonium, flute, marimba, trombone, and piano.  Early in 2005, he completed his first large-scale work for solo clarinet with wind ensemble accompaniment:  Desert Roads.  Desert Roads is comprised of four movements—each with a unique perspective and stylistic approach to the concerto medium.   This document begins with a detailed biography of the composer’s life and works.  There is an emphasis on the people, places, and events that contributed to Dr. Maslanka’s compositional style.  Chapter 2 offers a history of Desert Roads and pays special attention to Dr. Margaret Dees and her leadership in the commissioning of the work.  Chapters 3-6 provide analysis and discussion of the structural elements Desert Roads.  Additionally, there is discussion of the chorales of J.S. Bach where appropriate.  Chapters 3-6 also include graphic illustrations of each movement at the end of the chapter.  Chapter 7 offers some concluding remarks and performance considerations for clarinetists, conductors, and scholars.  In addition to the customary and required copyright and bibliographic documentation, the appendix of this doctoral document contains a reproduction of the Bach chorales employed within Desert Roads as well as the text from Richard Beale’s On the Subway Platform.  Furthermore, the appendix contains the transcription of interviews conducted by the author, and an annotated list of Maslanka’s works for clarinet, giving scholars a context for which to better appreciate Desert Roads. This document is intended to provide readers with a clear, thorough understanding of Desert Roads and contribute to a greater understanding of the music of David Maslanka.

Barbershop singing is a hobby enjoyed by hundreds of thousands of men and women across the world. We attend conventions, shows, competitions, and educational outreach programs each year at our own expense to preserve a style we truly love. Most singers of the style are amateur musicians. This constitutes somewhat of a challenge when we consider the need for healthy singing in light of certain assumptions about the vocal technique required of the barbershop style. Most do their best to make a healthy sound but end up doing more harm than good to their own voices after a lengthy rehearsal. The pedagogical methods in this paper welcome all musicians into the world of barbershop as seen from the viewpoint of a classical musician who enjoys the style. This is a document for the blue-collar worker as much as it is for the primo uomo. It’s exercises combine classical techniques with barbershop repertoire. Both professional and amateur musicians will find this document useful, especially as a gateway for classical musicians into the barbershop style. The key is knowledge of the core voice, and its use to project target vowels for perfect blend and expression of the text. The argument of this document is that singing in the barbershop style can and should be taught classically. To be successful, the barbershop style requires overtones and a unified choral sound. Classical solo singing requires a rich, vibrant individuality in the voice. Here, I create a mixture by merging the former with the latter. Adviser: William Shomos

The Sonata For Alto Saxophone and Piano Op. 19 is one of the most popular pieces in the saxophone literature, commonly played by professional saxophonists during their training. It features exciting rhythmic devices like irregular and mixed meter, the notation of which is the main focus of this paper. Although Creston often used irregular and mixed meter in his compositions, he rarely specifically notated them, choosing instead to use accents, beams, slurs, and other phenomenal cues at the musical surface to create the effect of these metric plans. Time signatures often remained constant throughout entire movements. Creston believed this would ease performers reading burden by using the barlines as nothing more than measured markers of the underlying pulse stream, leaving them free to focus on more pertinent aspects of the music. I have termed this idea as meter-as-measure, and is central to Creston's rhythmic theories. Contemporary theories of rhythm and meter based in cognition do not support the meter- as-measure hypothesis, however, and publishers typically show irregular and mixed meters through notation of changing time signatures. The main purpose of this thesis is to create a new score of the Sonata to reflect the meter inherent in the phenomenal cues of the musical surface, thereby restoring the power of the barline to convey the metrical structure of the work to performers. Lerdahl and Jackendoff's theory of metrical structures from A Generative Theory of Tonal Music is used as a basis for parsing the rhythms at the musical surface, providing a theoretical framework for the rebarring. Many passages with difficult-to-interpret metrical structure are discussed in detail and reproduced as examples.

The horn music of Paul Basler, while extremely popular and widely recognized, is relatively unexplored in academia. Basler’s experiences have led him all over the world from Wisconsin, Florida, and New York to Kenya and the Dominican Republic. Because of Basler’s variety of experiences, his music encompasses many styles and media. This document focuses on the life and influences of Paul Basler as a composer for the horn as the featured instrument. It provides a historical context for each of his original pieces for solo horn, horn and piano, two horns, and two horns and piano. Also present is a performer’s guide that catalogues each piece’s difficulty, highest and lowest notes, duration, instrumentation, technical and ensemble issues, and extended techniques. Several interviews with Paul Basler, Michelle Stebleton, and Thomas Bacon were conducted via email and are included in the appendix with a complete list of his compositional output for horn. Adviser: Alan F. Mattingly

This work was written for ten performers plus tape. The instruments are divided into two groups, each with a distinct personality: flute, clarinet, horn, violin and cello in an "orderly" group, and three percussionists, piano, doublebass and tape in a "chaotic" group. The first two sections introduce these groups separately. The third section returns to the order group, which begins to show a chaotic influence. The fourth section, for tape alone, echoes the first in its stability. The final section, for the entire live ensemble, fuses the two groups into a texture which is not entirely chaotic, nor entirely orderly.

This study investigated the application of music as a factor in influencing running pace of runners. Thirty (30) runners of varying ages, paces, and distances run per week were individually tested on two runs: one, with music, using a portable cassette player; the other, without music. Results indicated that there was a statistically significant difference in actual, as well as perceived, running pace between the experimental conditions. Of the 30 runners: 19 actually increased their pace, 20 runners perceived an increase in running pace, 3 maintained there was no change and 7 felt the music decreased their running pace. In addition, most runners reported that they enjoyed running to music, and felt that it assisted them in diverting attention from the actual run, thereby enhancing the total running experience.

Serious musicological research initiated in the first decades of the twentieth century in America uncovered vast riches of British folk music that had been transplanted to these shores by early pioneers. In the mountains of Appalachia, traditional British ballads remained miraculously unspoiled, and distinguished researchers from Britain and America published many volumes of such songs. Jean Thomas, a legal stenographer born in eastern Kentucky in 1881, became fascinated with this phenomenon. She came to believe that an annual festival of mountain music would help ensure the survival of this art and, in 1930, she founded the American Folk Song Festival. With some interruptions, the Festival was held in eastern Kentucky on the second Sunday of every June through 1972. The festival provided a forum for British ballads as well as native American music. While the entire corpus of Jean Thomas' output is of mixed quality, an analysis of the British music she preserved reveals its value, dynamism and authenticity. In 1968, Jean Thomas presented many of her materials - tapes, letters, photographs, clippings, kinescopes and the like - to the University of Louisville. An exhaustive study of these treasures will yield rich fruit to the discriminating musicologist.

The purpose of this thesis is to present an account of the endeavors of Carlos Chávez to reveal Mexican nationalism through music. The study begins with a brief survey of Mexico's history with emphasis upon the presence of caciquismo and caudillismo. Politically, Mexican nationalism is a blend of the dynastic nationalism of sixteenth century Spain and the popular nationalism of the late eighteenth century. Ethnologically, Mexican Nationalism includes elements of Spanish, Indian, and mestizo culture. During the century following Independence as well as during Spanish domination the art and music of both Indians and mestizos were thrust aside in favour of a culture of foreign importation. It was the Revolution of 1910 which directly stimulated a rebirth of genuine Mexican culture. Art, literature, music all had the precursors and their exponents. In music, Carlos Chávez early assumed the leadership.

The specific intention in this thesis is threefold: (1) to review some of the evidence and information concerning Moussorgsky as a man and an artist; (2) to consider contemporaneous and present-day evaluations of him and his work; (3) to make a detailed melodic analysis of one of his greatest lyric contributions to the vocal literature.

The purpose of this treatise is not so much to discover heretofore unknown facts through original research; however, certain research is planned to assist in deleting the obvious handicaps one might encounter from using faulty instruments or mouthpieces, but rather to assemble under one cover practical data that may be of value in improving intonation in the band ensemble. Various definitions of terms will be established, purposes determined, opinion and methods of teachers evaluated, conclusions reached, and highlights of other persons’ experiments that may bear upon the subject will be presented.

Information received during interviews with fifteen prominent choral directors, ministers and laymen of different communities end questionnaire responses from thirty of fifty churches of the San Joaquin Presbytery of tho Presbyterian Church, U.S.A., indicates almost unanimously that there is a growing need. and also a growing awakening among the youth of the church for participation in church musical activities. For many years churches, large and small, have been struggling with the difficult problems of providing satisfactory musical experiences for both the adults and the youth in the churches of various denominations. For the large churches, with large budgets at their command, the matter is simplified by the hiring of paid singers and competent directors at good salaries. In the case of the smaller churches, the duties of furnishing music for various services and special programs usually fall to a local music instructor, and interested layman, the wife of the minister, or perhaps the minister himself. In some cases there is a small monthly remuneration, but in many cases the work done is a matter of donated time and labor on the part of the director. Much has been discussed as to the reasons for the lack of interest shown by the young people of various denominations in the musical life of the churches, but little practical information can be found to remedy the situation. In a conference with Dr. Clair Morrow, moderators of the Synod of California and Minister of the First Church of Fresno, and Leonard Ballmer, Moderators of the San Joaquin Presbytery, it was felt that such a study should take place in order to evaluate and compare the Youth Music Program at the First Church in Fresno with the other churches in the Presbytery.

It is the purpose of this study to organize the music written originally for flute and available in this country on the basis of a critical analysis which will give the reader a brief but authoritative word picture of each composition listed. This includes only music for C flute or without piano accompaniment. There are no arrangements or transcriptions included.

Throughout Germany the singing society (usually a Maennerchor), is an important institution in the cultural life of every, hamlet, town, and city. During the middle of the nineteenth century, many such societies sprang up throughout America. California had a liberal share of these during the pioneer days. Some of these organizations have persisted until the present day. The function which they performed in enriching the lives of their members, and the contribution which they made to the life of the community seems to the investigator a valid reason for investigation into their background and history. As far as the investigator can discover, no such study has been made. Since "every civilization is a synthesis of man's conquest of life" it seemed worth-while to study the attack which the German-born citizen made upon life in the new world. Part of this attack was through the singing societies which he transplanted from the old world. Why he did this, how he did it, and with what musical success, forms the body of this thesis. The material has been presented in chronological sequence. The sources which led to the formation of singing societies in Germany are briefly treated in the first chapter. Thee gaudy period of the pioneers comprises the second chapter. The third chapter is devoted to that period which is characterized by a nostalgic love for the Fatherland, as well as a genuine, self-respecting loyalty to the new country. The modern period, in which present day citizens carry on the old tradition, comprises the fourth chapter. This is followed by an attempt at objective evaluation. Included in this is an examination of critical comment as published in present day newspapers.

In a brief survey of this history of the oboe, it is necessary to return to primitive instruments. It is impossible to give a definite date at which the oboe may have originated, but Schwartz, in this Story of Musical Instruments, accepts the periond of the Fourth Dynasty in Egypt, or about 3700 B.C., as the date of the oldest specimens of the early forms.1 We also know of their existence in the Mesopotamian culture of 2800 B.C. A shrill, double-reed instructment with some finger-holes is known to have exited in Greece about 1500 B.C., when that civilization was undergoing many changes, but frequently we omit the example of the oboe (called flute) (see footnote4), in the orchestra of King Nebuchadnezzar, in the early part of the sixth century. This Biblical reference is found in the third chapter of the Book of Daniel.2