System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 7, 2003, Oct. 19, 2005, June 19, 2006, and Apr. 20, 2009. Includes bibliographical references (p. 64-66).

Dan Beaty (1937-2002) was a prolific composer, pianist, researcher, educator, and writer. His large compositional output included chamber works, choral works, songs, orchestral pieces, electronic music, and keyboard works. Beaty was well versed in traditional Western music as well as the more avant-garde and perplexing idioms of the twentieth century. Beaty's compositions reflect the many fascinating, if not always popular, musical trends of his time. His music encompasses styles from serial to jazz, shows compositional influences from Arnold Schoenberg to Indonesian music, and demonstrates thought-provoking and highly intellectual craftsmanship. This document explores several of Beaty's songs through a discussion of the composer's life and compositional process. Songs included in this document are Three Weeks Songs, October, November, A Sappho Lyric, Love Song, That Night When Joy Began, and War Lyrics. This document was written to accompany the author's DMA Lecture-Recital at the University of North Texas. Unfortunately, Beaty's vocal music was never published and is mostly unknown. One goal of the project was to initiate interest in Beaty's songs. Through this document, Lecture-Recital, and additional performances, considerable strides have been made to bring Beaty's songs to new audiences throughout the United States. In addition, the author has received permission from the Beaty family to publish Dan Beaty's songs.

The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.