The history of music education in America shows that a variety of activities have been, and still are, included in the public school music program. The emphasis which has been placed on the various media of music in the schools has shifted from time to time, just has the concepts of general education have changed. At one time the important thing in teaching music was teaching singing; the music class became, in fact, a "singing class." A little later orchestras became a prominent part of the music education program. Still later a great emphasis was placed upon brass bands. As the instrumental program became stronger and more active the vocal program seemed to be forced somewhat into the background. Just at the time the proponents of vocal music were beginning to bewail their fate, a new interest began to develop in the music education program, that being an interest in "a capella" choirs. Today our schools have been able to coordinate the work of the various media into a well balanced program of music education-- one which affords opportunities in both instrumental and vocal music. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / "May, 1955." / Typescript. / Advisor: W. L. Housewright, Professor Directing Paper. / Includes bibliographical references. Includes annotated list of works for band or orchestra with chorus (leaves 24-39).

Includes bibliography (leaves 709-711) and indexes. / lxix, 968 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Chronological survey of editions and criticisms of the Middle English lyric emphasising 20th century works. Summarizes the content of each work and conveys its style and the author's voice by means of quotations. A general introduction discusses critical trends and aspects of the genre. Concludes with indexes of scholars and critics ; subjects discussed ; first lines of poems listed in the Index of Middle English Verse and its Supplement ; and, a temporary index of poems not noted in either. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1999

Includes bibliography (leaves 709-711) and indexes. / lxix, 968 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Chronological survey of editions and criticisms of the Middle English lyric emphasising 20th century works. Summarizes the content of each work and conveys its style and the author's voice by means of quotations. A general introduction discusses critical trends and aspects of the genre. Concludes with indexes of scholars and critics ; subjects discussed ; first lines of poems listed in the Index of Middle English Verse and its Supplement ; and, a temporary index of poems not noted in either. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1999

"The purpose of this paper is to develop a list of printed books in the fields of fiction and biography suitable for use with blind, deaf or crippled children. The books are presented in an annotated bibliography arranged in order of readability. An attempt was made to recommend all available books for grades one to six which met the criteria established"--Introduction. / Typescript. / "June, 1952." / "Submitted to the Graduate Council of Florida State university in partial fulfillment of the requirements for the degree of Master of Science under Plan II." / Advisor: Sara Krentzman Srygley, Professor Directing Paper. / Includes bibliographical references (leaves 30-32).

"The purpose of this paper is to develop a list of printed books on China, in the fields of fiction and non-fiction, suitable for use with junior and senior high school students. Since the writer of this paper is a Chinese girl who has appreciated the opportunity to live and study in America for the past six years, she is especially interested in suggesting adequate materials for use in America in motivating a better understanding of China. The compilation of such a bibliography has been undertaken as a step in achieving the good will and better understanding of English-speaking peoples in relation to China. As a result of discussion with Mrs. Sara K. Srygley, formerly Consultant in Library Service, Florida State Department of Education, and an examination of an available bibliography of books for high school libraries, it has been ascertained that there is a need for such a list"--Introduction. / "June, 1953." / At head of title: Florida State University. / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Sara K. Srygley, Professor Directing Paper. / Includes bibliographical references (leaves 42-45).

Indiana University-Purdue University Indianapolis (IUPUI) / This document offers scholarly researchers, students and general readers a reliable, genealogically-based descriptive bibliography of all U.S. and British publications of Ray Bradbury's Fahrenheit 451 (1953). The driving force behind this thesis is the desire to preserve, catalog, describe and archive a work of literature that has stood the test of time and continues to be an influential milestone of American culture well into the twenty-first century.

Text in Afrikaans / Die ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word ingesluit. Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet aan die volgende kriteria voldoen, voordat die komposisies as verwysings kan kwalifiseer: (a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees. (b) Instrumentale kamernusiekkomposisies moet volledig en voltooid wees. ( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem. Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit. 'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in. Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite, asook die blootstelling aan plaaslike en internasionale instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese, militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel. Evaluering van geselekteerde instrumentale kamermusiekkomposisies van 1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op enkele parameters gabaseer: (a) Tematiese metamorfose (b) Tematiese frasestruktuur (c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of direkte herhaling. Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk. In Volume 2 word die verblyftydperk van besoekende komponiste asook die immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting van 512 instrumentale kamermusiekkomposisies deur 139 amateur en professionele Suid-Afrikaanse of besoekende komponiste, is daar gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit. Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek / An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included. Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria: (a) Compositions must be composed mainly on South African soil. (b)Instrumental chamber music compositions must be complete and finished (c)Compositions must be composed for three to nine instrumentalists Changing or alternating of instruments by perfonning artists considered. Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works. The availability of instruments, tuition facilities and exposure to national and inteniational perfornances through public concerts, private concerts or soirees, during the preparatory phase (1652-1910) created a favourable milieu for the developnent of chamber music. External influences such as economical, sociological, military, religious and political activities, played a determining role in the developmental tempo of South African instrumental chamber music. :Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters: (a)Thematic metamorphosis (b) Thematic phrase structure. (c) Certain composition techniques exempli gratia imitation or direct repetition. The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies. In Volume 2 the period of sojourn of visiting composers as well as the inmigration and emigation dates of composers are indicated. With the enclosure of 512 compositions by 139 amateur or professional South African or visiting composers, it has been endeavoured to incorporate impotrant biographical details as well as some contributions of relevant composers. 'A chronological list of compositions reflects the extensive expansion of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix / Art History, Visual Arts & Musicology / D.Mus. (Musiekwetenskap)

The thesis investigates in what way the scholarly edition performs bibliographic functions as it manages and positions other documents. This is where the study differs from previous research on scholarly editing and bibliography. It aims to trace the boundary between scholarly editing and bibliography by comparing crucial objectives, problems and conflicts in each field. This is accomplished by identifying the argumentation, assumptions and conceptual frameworks that form the rationale for the fields, and subjecting them to qualitative critical and historical analysis. The main empirical material is editorial theory literature, with scholarly editions serving as illustrating examples. Key questions concern the way scholarly editors and bibliographers identify, define and reproduce their respective source material; the reasons for conflicts between editors’ varying expectations of the reproductive force in printed and digital editions; and the connections and demarcations between scholarly editing and bibliography and between scholarly editions and reference works such as bibliographies. Bibliographic and media theory form the basis for the theoretical framework, with additional input from book history, literary theory, genre studies and scholarly communication studies. The thesis suggests a distinction between the two activities of clustering and transposition, and the distortion the latter brings about. These concepts are employed to detect, group and explain activities and problems in scholarly editing and bibliography, who both manage sets of documents by clustering them to one another and transposing their contents by producing new documents. There is a noticeable division of labour between the two tasks, and they also correspond to different types of editions. The study also ties the dominant editorial strategies and edition types to respective bibliographic foci, and argues that central conflict areas are primarily accentuated and only secondarily introduced with digital editing. An idealistic strand treats editing as unbiased delivery of disambiguable and reproducible content, while to a hermeneutical strand the edition is an argumentative and content constraining filter, its editor being a kind of biased author. In a third strand, editions are content circulating ecosystems with a division of labour between collaborating media types. In particular the view of editions as constitutive arguments is related to analogue observations in LIS and genre and scholarly communication studies. On the one hand, editing is supposed to be a dynamic research area, ready to respond to new findings and scholarly ideals. On the other, several arenas demand the edition to serve as a conservative force, static and confirmatory. The potential of digital media points to a distinction between edition and archive, where the former but not the latter explicitly takes an interpretative stand. Digital editing also boosts the idealistic strand by the seeming promise to separate facts from interpretation and to enhance maximum exhaustiveness and reproductivity. Although the thesis identifies many commonalities between editions and reference works and the way these are structured, there is a crucial difference. The edition is simultaneously a work’s reference and referent. Bibliographies and reference works cannot make that claim. / <p>Akademisk avhandling som med tillstånd av samhällsvetenskapliga fakulteten vid</p><p>Göteborgs universitet för vinnande av filosofie doktorsexamen</p><p>framläggs till offentlig granskning kl. 13.15 lördagen den 9 december 2006</p><p>i Stora Hörsalen (C 203), Högskolan i Borås, Allégatan 1, Borås.</p>

Eighteenth-century Scottish bibliography is a vast subject still awaiting exploration. There are, however, some landmarks to look for and guides to employ. I am thinking particularly, in the context of my own interests, of the writings of Philip Gaskell, and a work that should open up new sources, Robert H. Carnie’s awaited dictionary of the Scottish Book trade. The national Library of Scotland is in the early stages of compliling a catalogue of its eighteenth-century Scottish books which, no matter what form it takes, will provide scholars with a major tool. The description of books has been and doubtless will continue to be a controvertial subject, but those students who have much to identify can take encouragement, I believe from David Foxon’s ‘Thoughts on the History and future of Bibliographical Description’. In this work I map some particular and general areas of Scottish publishing history by examining the partnership of Gavin Hamilton and John Balfour, and the association they formed with the printer Patrick Neill. I study the partners in their own right as booksellers, publishers and printers, but I am concerned also with the larger bibliographical background. Hamilton and Balfour were strong-willed individuals who bought the force of their personal and private interests to bear on their professional lives; Hamilton, especially, in the period under consideration, saw little difference between his duty as a Scottish gentleman and his activities as a Scottish publisher. He and Balfour were far-sighted and adventurous, and deserve to be thought of as central figures in the story of the Edinburgh book trade.

This narrative chronicles the dissemination of sacred music from the eastern seaboard to the West and South spanning a time frame from the colonial era to the latter part of the Early Nationalist Period (1700-1820). Musical culture in its migration away from the eastern seaboard also parallels the greater western and southern expansion of the United States from its initial configuration of localized regional subgroups to the beginnings of a larger national identity. From this conceptual base, sacred music becomes a vehicle for understanding not only religious and musical changes over time, but also the broader maturity of a nation. Focusing on this period allows for inquiries both into the development of hymnody in the Middle Atlantic, and the subsequent developments of the West and South. These chronological delimitations allow for a discussion of musical practice beginning with formative sacred music developments and continuing to the incorporation of techniques shaped by reform-minded musicians from the eastern seaboard. The following topics guided the construction of this thesis: explicating how the Middle Atlantic region shaped compositional trends, aesthetic, and performance practice of the American West and South; identifying the various southern cultures as understood by eighteenth and nineteenth-century southerners and their application to sacred music practice; understanding how nineteenth-century Americans distinguished between the West and the South; understanding how southern and western music relates to individual denominations and cultures within these areas; and understanding performance practice common to the evangelical and non-evangelical branches of individual sects. Identifying patterns of development in American sacred music of the South and West involves documentation of performance practice, denominational aesthetics, and tunebook bibliography. The study of eighteenth-and-nineteenth-century material by twentieth-and-twenty-first-century writers has falsely defined cultural borders of this region according to a post-bellum conceptualization of the boundaries of the North and South. Prior to 1850, writers defined their borders according to a different set of geographic boundaries than today. Consequently, this thesis differs in terms of geographic and cultural definitions of the North and South from current scholarship because of this writer’s application of colonial and Early Nationalist understandings of American culture.