Arts and Humanities Commons^™

Repertoire Class: December 16, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on December 16, 1965. The following students performed: mezzo-soprano Karr La Miller, tenor Tommy Bolton, mezzo-soprano Linda Yaeger, tenor Jack Price, pianist Ginny Webb, pianist Denise Gray, pianist June McWha, pianist Glenda Plummer, pianist Susan Parr, soprano Vickie Castleberry, soprano Linda Wilson, organist Tommy Medlock, soprano Frances Scott, mezzo-soprano Judy Lynn Davis, flautist Judi Parker, soprano Beth Massey, soprano Phyllis Moseley, and organist Gail Millsapps.

Winter Concert, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Repertoire Class: December 9, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on December 9, 1965. The following students performed: soprano Pamela Collins, baritone Stanley Owen, soprano Sheila Long, soprano Judy Philliber, organist Tommy Medlock, baritone Tom Long, pianist George Ann Morse, and pianist Dora Ann King.

Repertoire Class: December 2, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on December 2, 1965. The following students performed: baritone Larry Aldridge, organist Janice Granberry, cornet player Wayne Nicholson, pianist Lequieta Reed, pianist Rebecca Chandler, organist Linda Wegener, and pianist Ron Lewis.

Tenth Annual Madrigal Dinner-Concert, December 1965, Illinois State University

Madrigal Dinner Programs

Ballroom, University Union, Illinois State University

Alessandro Raujerij's Collection Of Canzoni Per Sonare (Venice, 1608) Volume Ii Edition, Leland Earl Bartholomew

Fort Hays Studies Series

Among the Venetian printers who published music in the opening decade of the seventeenth century, Alessandro Rauerij was one o fthe most active. The Canzoni consists of nine part-books-- eight for the melodic voices; the ninth, an organ-bass. The collection contains thirty-six instrumental canzonas. The present volume constitutes a modern edition of Rauerij's collection and is presented in an open score.

Repertoire Class: November 18, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on November 18, 1965. The following students performed: pianist Bruce Watson, pianist Rhonda Reynolds, pianist Gary Crumby, pianist Glenda Plummer, pianist Mike Clippard, pianist Carol Cantrell, pianist Tommy Bolton, bass Randy Ross, baritone Glynn Steward, soprano Marjorie Stobaugh, baritone George Stevenson, pianist Bob Braswell, and pianist Phyllis Ray.

Repertoire Class: November 11, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on November 11, 1965. The following students performed: pianist Juanita Nicholson, soprano Camille Bishop, flautist Judi Parker, baritone Lewis Sims, baritone Richard Rose, and trombonist Al Wetherington.

Repertoire Class: October 28, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on October 28, 1965. The following students performed: soprano Frances Scott, soprano Joyce Vestal, soprano Camille Bishop, organist Linda Wegener, baritone Joe Williams, Jim Rees, organist Gail Millsapps, alto saxophonist Clark Crays, flautist Judi Parker, pianist Shirley Elam, pianist Greg Hulme, pianist Rebecca Chandler, pianist Bill Borland, and pianist Jim Barnes.

Repertoire Class: October 21, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on October 21, 1965. The following students performed: organist David Glaze, baritone Val Spencer, pianist Bill Borland, pianist Dora Ann King, pianist Barbara Bell, and organist C.H. Dunaway.

Repertoire Class: October 14, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on October 14, 1965. Pianist Jenny Boley, soprano Jean Ann Loyd, mezzo-soprano Alberta Howard, tenor Raymond Hardin, organist C.H. Dunaway, baritone Jim Willmoth, mezzo-soprano Kathy Matlock, and organist Ron Lewis performed.

The Soldier’S Letter, Joseph Pagett

Maine Song and Story Sampler

“The Soldier’s Letter” was one of several songs from the American Civil War that became popular in Canada.

Repertoire Class: October 7, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on October 7, 1965. The OBU Saxophone Quartet (Clark Crays, Charles Wesley, Larry Aldridge, and Dean Evans), organist Gale Millsapps, tenor Bill Borland, the OBU Clarinet Quartet (Shirley Hellen, Janada Graddy, George Bates, and Charles Wesley), baritone Jim Willmoth, organist C.H. Dunaway, and the OBU Woodwind Quartet (Judi Parker, Stanley Owen, Vickie Castleberry, David Glaze, and Juanita Nicholson) performed.

New Mexico Musician Vol 13 No 1 (October 1965)

New Mexico Musician

NMEA Teachers Com·ention - Music Section 1

State Adopted Music 1

Editorials 2-3

Around the Horn 5

NMMEA Minutes 5-8

NMMEA Financial Report 9

New Faculty at NMSU 10

Administrators Conference on Music Education at UNM 10

NAMM On Excise Tax 10

McEwen to Roger Wagner Chorale 11

Albuquerque Youth Symphony 11

Federal Support of the Arts 12

Rand Division 13

"Doc" Scverinson to UNM 13

Orchestra Division 15

UNM Annual String Clinic 15

Choral Division 17

NMEA Districts 18-19

Anton Heiller Organist, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Ua35/11 Perspectives On Contemporary Man, Wku Honors Program

WKU Archives Records

Lectures delivered by WKU professors to the Freshman Colloquium in the fall of 1964. The Freshman Honors Colloquium is a special course open only to freshmen students whose test scores, on the battery of tests administered to all entering freshmen, fall in the upper 15% and who graduated in the top quarter of their high school graduating class. The book lists the participants in the colloquium.

Lectures:

• Bailey, Donald. What is a Man, According to a Biologist?
• Nash, Ronald. A Philosopher Looks at Man
• Tachau, Charles. A Theologian Looks at Man
• Watson, John. A Sociologist Looks at Man
• Shedd, Charles. …

Cod Liver Oil, Omer Mckenna

Maine Song and Story Sampler

"Cod Liver Oil" was a popular song from Newfoundland, so popular in fact that many have claimed it as a Newfoundland song. It's origins, however, are not so clearly traced.

The Teamster In Jack Macdonald’S Crew, Joseph Walsh

Maine Song and Story Sampler

When Walsh sang "The Teamster in Jack MacDonald's Crew" for Sandy Ives, it was a song he had never heard before and did not hear from anyone after, despite his best efforts to find it. Walsh either learned the song while working near Katahdin Iron Works around 1911 or from a friend back on PEI, he was not entirely sure.

A Survey Of Current Thinking Concerning The Purpose Of Music Education In The Public School Curriculum, Donn Edward Nelson

Graduate Student Research Papers

Since music education is generally considered to be a well established member of the fine arts, and, since music and the arts are considered by many to be of great importance in the public school curriculum, it will be the purpose of this paper to review the current literature concerning the importance of music in the public school curriculum.

A Study Of Music Theory Teaching In The Arkansas Foundation Of Associated Colleges, Janis Nutt Watkins

OBU Graduate Theses

The purpose of this study is to determine the place of music theory in the curricula of seven selected colleges in Arkansas through a survey of the departments of music of these schools. This study is approached through comparison of semester hour requirements in theory, content of harmony courses, class procedures, and sims of the faculties.

The theory programs differed principally in the depth of study and methods of presentation. The majority of the faculties interviewed agreed that the purposes of theory were to represent fundamentals in a functional way and to contribute to the students' understanding of structure of …

A Program Of Music Experiences For The Preschool Child In The Home And At Kindergarten, Peggy Small Horton

OBU Graduate Theses

The purpose of this study is to provide adequate information for parents and kindergarten teachers in guiding preschool children through meaningful and enjoyable music experiences. The primary sources which are used in the study are books and unpublished materials -- investigations, theses, and dissertations.

The role of heredity in musical aptitude is discussed in Chapter II. Attention is given to the important investigations which have been made regarding the inheritance of musical talent. The two schools of thought concerning the measurement of musical talent are discussed. A program of music experiences for preschool children in the home and at kindergarten …

70th Annual Convocation; 70th Annual Commencement Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 70th Annual Commencement Concert at Orchestra Hall (220 South Michigan Avenue) on June 10, 1965 and the Convocation ceremony in the Florentine Room of the Congress Hotel (500 South Michigan Avenue) on June 16, 1965.

Repertoire Class: May 20, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on May 20, 1965. Soprano Norma Robertson, baritone Rudy Gallegly, soprano Kay Gnau, trombonist Al Wetherington, tenor Tommy Bolton, mezzo-soprano Linda Yeager, trumpet player Buddy Barnett, baritone Larry Williams, soprano Amelia Carter, baritone John Sawyer, organist Sherry Tabor, tenor Ron Gray, pianist Carolyn Yeldell, and pianist Greg Holm performed.

Repertoire Class: May 13, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on May 13, 1965. Pianist Carolyn Blazin, pianist Bill Fielding, pianist Brian Bretsnyder, soprano Nancy Justus, soprano Camille Bishop, baritone Jim Wilmoth, mezzo-soprano Linda Yeager, baritone Sam McKinney, soprano Lana Rankin, bass Robert Etters, baritone Richard Rose, soprano Paula Ray, baritone Tom Long, baritone Jim Reese, mezzo-soprano Velma Brinkley, baritone George Stevenson, soprano Dona Hatcher, pianist Susan Parr, composter Jean Balfour, pianist Jenny Boley, and pianist Bill Borland performed.

Sherry Tabor In A Senior Piano Recital, Sherry Tabor

Student Concert Performances, Programs, and Posters

This is the program for the senior piano recital of Sherry Tabor. This recital took place on May 13, 1965, in the Mitchell Auditorium.

Repertoire Class: May 6, 1965, Repertoire Class Division Of Music

Student Concert Performances, Programs, and Posters

This is the program for the Repertoire Class recital, held on May 6, 1965. Soprano Judy Phillibor, baritone Lewis Sims, soprano Suzanne Crain, baritone Joe Williams, contralto Judy Lynn Davis, soprano Patti Arnold, pianist June McWha, pianist Chris Weber, organist Tommy Medlock, pianist Carol Cantrell, pianist Mary Sue Hill, pianist Jim Barnes, and pianist Sherry Tabor performed.

Graduate Recital, Thomas Gordon Nelson

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

The prospect of presenting a recital was very exciting to the author for two reasons. First, in spite of the fact that he has been associated with music as a performer and teacher-conductor for twenty years, this writer has participated in only one formal solo recital situation. This was a performance of Morceau Symphonic, to complete requirements of a Bachelor of Arts Degree from Brigham Young University, and was prepared with little formal supervision. The second, which is directly related to the first, was the desire of the author to attempt to prove that he had gained at least a …

A Graduate Recital Report, Jeneile Tams

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

It is of utmost importance that the instrumental music teacher be able to demonstrate proper tone quality, breath control , fingering techniques, and phrasing. He must also understand the problems which the student will encounter and have to overcome in the study of the different instruments. One of the most effective methods of learning is through actual performance . The teacher learns many points during preparation for acceptable performance which may be applied to other instruments as well as the specific problems of that instrument. The writer felt that the performance of a woodwind recital would be the most practical …

Graduate Recital, Ronald L. Wooden

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

The opportunity to select and perform qualified musical literature on a graduate recital offers the individual music teacher a challenge that is commensurate with the duties of his profession. A major responsibility of the music educator is the selection, rehearsal, and performance of the best possible literature that will meet the educational aesthetic needs of his particular performing group. It could be said that one of the most potent factors in preserving and expanding the musical culture of our society is the part played in it by the music educator and his wisdom and choice that he displays with this …

Basic Problems In Playing The Cornet, Loyal J. West

All Graduate Theses and Dissertations, Spring 1920 to Summer 2023

After having spent a number of years in the teaching profession, the writer has become aware of the need for a study dealing with the specific and technical problems in playing the cornet.

The problems of performance on the cornet may readily be divided into three groups: (1) those having to do with the instrument, (2) those having to do with the player, and (3) those having to do with the interpretation of music. The problems of playing the cornet will be dealt with in this paper only as they apply directly to the problems of learning the instrument itself. …