Arts and Humanities Commons^™

Mary Ahn In A Senior Piano Recital, Mary Ahn

Student Concert Performances, Programs, and Posters

This is the program for the senior piano recital of Mary Ahn, which was held in Mitchell Hall Auditorium on December 16, 1962, at 3:00. Mary Ahn was a pupil of Miss Evelyn Bowden.

Repertoire Class: December 13, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on December 13, 1962. The following students performed: bass-baritone George Stevenson, percussionist Hank Dempsey, pianist Jean Beard, and pianist Mary Ahn.

Sue Thresher In A Senior Piano Recital, Sue Thresher, Bill Trantham

Student Concert Performances, Programs, and Posters

This is the program for the senior piano recital of Sue Thresher. The recital was held on December 10, 1962, at 8:00 p.m., in Mitchell Hall Auditorium at OBU, and on December 15, 1962, at 7:30 p.m., at Calvary Baptist Church in Fort Smith, AR. Thresher was a pupil of Mr. Trantham, who also accompanied on a second piano.

Sara Brown In A Recital, Sara Brown

Student Concert Performances, Programs, and Posters

This is the program for the piano recital of Sara Brown. The recital was held on December 6, 1962, at 8:00 p.m., in Mitchell Hall.

Repertoire Class: December 6, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on December 6, 1962. The following students performed: soprano Ann McCorvey, pianist Betty Shaw, pianist JoAnn Ferguson, and pianist Gerry Trussell.

Seventh Annual Madrigal Dinner-Concert, December 1962, Illinois State University

Madrigal Dinner Programs

Ballroom, University Union, Illinois State Normal University

Repertoire Class: November 29, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on November 29, 1962. The following students performed: pianist Karen Cash, pianist Joyce Arnold, pianist Jean Crumby, pianist Rebecca Roberson, pianist Dian Ray, pianist Karen Parsons, tenor Jim Williams, mezzo-soprano Peggy Pohnka, and soprano Jacqueline Nash.

Brenda Barcrow And George Robert Jones In A Joint Junior Recital, Brenda Barcrow, George Robert Jones

Student Concert Performances, Programs, and Posters

This is the program for the joint junior recital of mezzo-soprano Brenda Barcrow and tenor George Robert Jones. Phyllis Ray accompanied Barcrow, and Miller accompanied Jones. The recital took place in Mitchell Hall on November 15, 1962.

Repertoire Class: November 8, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on November 8, 1962. The following students performed: soprano Kay Davidson, baritone Mike Passen, soprano Jerri Fields, tenor Larry Holland, baritone Nyle Parmelee, tenor Davey Henderson, baritone Norman Coad, clarinetist Connie Harrellson, bassoonist Danny Lowe, clarinetist Bobby Power, pianist Eddie Rettstatt, pianist Peggy Gullage, and pianist Sandra Elliff.

Repertoire Class: November 1, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on November 1, 1962. The following students performed: pianist Dick Ewing, pianist Paul Orton, pianist JoAnn Helen, pianist Sonja Dalrymple, duo pianists Peggy Gullage and JoAnn Helen, tenor Ken Martin, and soprano Kitty Cook.

Eiu Names Students For Caribbean Tour, Charleston Courier-News

USO Tours News Clippings

No abstract provided.

Repertoire Class: October 25, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on October 25, 1962. The following students performed: soprano Patty Parks, soprano Jeanne Hoffman, tenor Ron Walker, clarinetist Paul Orton, pianist Sue Thresher, pianist Sara Brown, pianist JoAnn Ferguson, pianist Karen Parsons, pianist Sherry Tabor, pianist Ron Kelly, organist Bill Rudder, and pianist Laverne McLaughlin.

Repertoire Class: October 18, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on October 18, 1962. The following students performed: soprano Ann McCorvey, baritone George Stevenson, baritone Ronnie Pankey, tenor Raymond Hardin, clarinetists Paul Orton and Bobby Power, pianist Peggy Gullage, pianist JoAnn Ferguson, pianist Sue Thresher, and pianist Karen Parsons.

Repertoire Class: October 4, 1962, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on October 4, 1962. Contralto Beverly Coad, pianist JoAnn Hellen, piano duo Royce Jones and Sonja Dalrymple, organist Shelby Bolton, organist Mary Miller, and organist Bill Rudder performed.

New Mexico Musician Vol 10 No 1 (October 1962)

New Mexico Musician

Piano Concert by Garfield 1

MENC—National Cultural Center 1

Piano Workshop for NMMTA 1

Editorials 2-3

Around the Horn 5

NMMEA Minutes 5

NMMEA Financial Report 11

State Solo and Ensemble Festival 11

NMMTA Jr-Sr Audition Rules 12

NMMTA Student Affiliate 13

Piano Page-Schulmeister 13

SWMTNA Convention 13

NMMTA State Convention 14

NMMEA State Convention 15

Justin Bradbury 15

Choral Division 17

19th All-State Music Clinic 18

Doug Cornwall Retires 18

Band Division 19

All-State Auditions 20

David Hooten 20

Orchestra Division 21

Violin Bow-Part II, Richard Fischer 22

Elementary Division 23

Music Teachers in Artesia 23

MENC Student Chapters …

Gretsch Guitars Price List, 1962, Gretsch Company

Gretsch Company Catalogs and Price Lists

Prices for Gretsch guitars, strings, and cases.

The Real Ambassadors Script And Sheet Music Used At Monterey Jazz Festival, Iola Brubeck

The Real Ambassadors - Scripts and Ephemera

Dave and Iola Brubeck created The Real Ambassadors in the late 1950s. The jazz musical pointed out the absurdity of segregation and makes the case that artists such as Louis Armstrong are the best and "real" ambassadors to demonstrate a nation's ideals. It was recorded in 1961 and performed live only once. Despite their efforts, the play never made it to stage. Here is a collection of letters, photographs, scripts, and audio that document the creation of The Real Ambassadors.

1962 Monterey Jazz Festival Program Pages Concerning The Real Ambassadors, Unknown

The Real Ambassadors - Scripts and Ephemera

Dave and Iola Brubeck created The Real Ambassadors in the late 1950s. The jazz musical pointed out the absurdity of segregation and makes the case that artists such as Louis Armstrong are the best and "real" ambassadors to demonstrate a nation's ideals. It was recorded in 1961 and performed live only once. Despite their efforts, the play never made it to stage. Here is a collection of letters, photographs, scripts, and audio that document the creation of The Real Ambassadors.

Administration And Evaluation Of The 1961 Southeastern Alaska Music Festival, Harley A. Brumbaugh

Graduate Student Research Papers

In the past there had never been formulated a written organizational guide for administering the The Southeastern Alaska Music Educators Association music festival. It was the purpose of this study to describe and evaluate the techniques used to administer the 1961 Southeastern Alaska Music Contest-festival. An organizational guide might logically evolve from this, or better, from several such descriptions.

An Investigation Of Promotional Practices Used To Raise Money For Music Programs In Public Schools, John Marvin Clark

Graduate Student Research Papers

Many music teachers work in school systems that do not give the music departments enough financial support to implement effective programs. These teachers must seek more financial support if they are to accomplish their educational goals. The problem, therefore, was how to provide music specialists with promotional ideas for raising the funds necessary to operate effective music programs.

The English Madrigal School, Wayne Delbert Hunziker

Graduate Student Research Papers

Many present day directors and performers show little stylistic understanding of original madrigalian literature. This music, with its Renaissance character, requires specific knowledge for correct performance. In view of this, a study of this nature seemed of value.

The Unsure Singer In The Primary Grades, Jane Troth Jones

Graduate Student Research Papers

This paper will attempt to present a method of dealing with the unsure singer which can be used by classroom teachers or the music specialist. The various activities outlined have proven somewhat successful in correcting this problem with the singing voilces of primary children. A paper or thesis could be written on the progress of individual children. However, it will be the intent here to present ways of handling the problem so that the average classroom teacher may work with the unsure singers. Host of the ideas have been tried out successfully with first and second grade classrooms in Eugene, …

A Study Of Some Aspects Of The Clarinet Embouchure, Philip C. Lowry

Graduate Student Research Papers

This paper will (1) investigate some mechanical aspects of the clarinet embouchure, (2) investigate some physical aspects of the embouchure, and (3) report the findings of the study.

The Development Of The Italian Madrigal, Jack D. Waddington

Graduate Student Research Papers

In recent years the madrigal has gained considerable popularity. While this is good, unfortunately, the intricacies of this type of music demand a thorough understanding. To properly interpret and perform this music, a knowledge of the stylistic characteristics of the period in which the work was written is of the utmost importance. In view of these factors, this study would seem to have value.

The Good Old State Of Maine, James Brown

Maine Song and Story Sampler

People have likely been singing, whistling, and humming while working for as long as music and work have existed. This relationship has developed twofold, both as a way to make work go faster (either by passing the time or establishing a rhythm for work) and as a means of expressing discontent with work or working conditions.

An Analytical Study Of The Formal Treatment Of The Cantus Firmus In Thirty Chorale Preludes On Well-Known Hymn Tunes Op. 68, 69, And 70, By Flor Peeters, E. Donnell Blackham

Theses and Dissertations

This study represents an effort to analyze the forms used by Flor Peeters in his Thirty Chorale Preludes on Well-Known Hymn Tunes, op. 68, 69, and 70. Through this analysis it has been found that Flor Peeters has systematically used certain devices in the treatment of the cantus firmus. Furthermore, these devices can be used as a criterion in developing a classification system for the chorale preludes, which logically divide into six groups or types.

The first type includes the chorale preludes in which the composition begins immediately with the first phrase of the chorale melody and continues without interruption …

Financing The Band Program In The Class "C" High Schools In The State Of Washington, Donald L. Goodale

Graduate Student Research Papers

The purpose of this problem was to investigate the various methods and possibilities of financing the band program in the class "C" schools of the State of Washington.

A Translation Of Chapter Lxvi Of Book I, Part I Of Fra Lodovico Zacconi's Prattica Di Musica, Diran Akmajian

Theses and Dissertations

It is common knowledge that the practice of improvisation, variation, and ornamentation was widespread during the late Renaissance. Numerous authors testify to this, and scores of manuals exist that ''teach11 this particular skill. One of the most important theorists to write such a manual was Lodovico Zacconi, a monk of the order of Saint Augustine. Chapter LXVI of Part I of his Prattica di Musica is one of the most detailed of its kind. Because there is a genuine revival today of performance of Renaissance vocal music, and because sufficient knowledge is yet to be had of the practices of …

67th Annual Commencement Concert; 67th Annual Convocation, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 67th Annual Commencement Concert at Orchestra Hall (220 South Michigan Avenue) on June 7, 1962 and the Convocation ceremony in the Florentine Room of the Congress Hotel (500 South Michigan Avenue) on June 13, 1962.

A Comparative Investigation Of Grading Systems In High School Bands, Lawrence C. Belz

Graduate Student Research Papers

It was the purpose of this study to (1) ascertain the major types of grading systems being used in high school band classes, (2) to explore the strong and weak points of these systems, and (3) to determine which system of grading provides the most satisfactory means of evaluating and reporting the individual band member's activities in the high school band.