Dissertations / Theses: 'Bass trombones'

1

Yeager, Jonathan K. "Interpretive performance techniques and lyrical innovations on the bass trombone a study of recorded performances by George Roberts, Mr. Bass Trombone /." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/yeager_jonathan/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 12, 2001, Oct. 14, 2002, Mar. 31, 2003, and Oct. 17, 2006. Includes bibliographical references (p. 80-82).

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Sharpe, Chris M. "A Modern Pedagogical Method for Developing Valve Technique on Independent Double Valve Bass Trombone." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609158/.

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The modern bass trombone has undergone many changes in design since the 1960s and a student beginning on or switching to bass trombone today needs pedagogical material that methodically addresses the many valve combinations available on an independent double valve bass trombone. The existing books for bass trombone contain useful exercises, but none of the currently available books address all the valve combinations and patterns that are helpful for developing proficient valve technique on bass trombone. Therefore, I created a new bass trombone double valve technique method book that includes a thorough exploration of the bass trombone's two valves within the context of scales, scale exercises, and original material specifically designed to be applicable to common literature for the bass trombone.

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3

Moore, Donald Scott. "The Concerto for Bass Trombone by Thom Ritter George and the Beginning of Modern Bass Trombone Solo Performance." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258476563.

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Saint-Saëns, Camille Woods Christopher P. "A transcription of Op. 94, Morceau de concert, by Camille Saint-Saëns for solo bass trombone and brass ensemble." view full-text document. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20011/woods%5Fchristopher%5Fp/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
For solo trombone, 4 trumpets (2 doubling flugelhorn), 4 horns, 3 trombones, euphonium and tuba. Includes analysis by composer. Includes bibliographical references.

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Hoormann, Matthew Bleys. "A performer's guide to Daniel Schnyder's "Subzero, concerto for bass trombone"." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383474831&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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6

Keene, Joel Andrew. "The Influence of Jazz Harmony and Jazz Style on Selected Bass Trombone Solo Literature." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/351.

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The development of solo literature for the bass trombone came relatively late in the history of instruments. Though the development of solo literature for this instrument and the birth and development of jazz occurring at the same time in history may be coincidental, the influence of one on the other is undeniable. Because of the large percentage of solo bass trombone literature that is influenced by jazz due to this coincidence, it is necessary that even a classically trained bass trombonist include jazz as a part of the study curriculum. In order to exemplify the influences of jazz harmony and jazz style on bass trombone literature, it was decided that the pieces chosen would be either from the library of standard bass trombone literature or would be an outstanding example for this topic. Then, the stylistic influences must be proved as being derived from the jazz idiom. The same must be shown true for any jazz harmonies discussed. For this topic, the following pieces were chosen: Eugène Bozza's New Orleans composed in 1962, Alec Wilder's Sonata for Bass Trombone and Piano composed in 1969, and Daniel Schnyder's subZERO: Concerto for Bass Trombone and Orchestra composed in 1999.

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7

Skogh, Simon. "Trombonrösten på olika altituder : Registrets påverkan på musikens beståndsdelar." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4051.

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This thesis is about register and how it affects my playing through compositions and improvisation. As a brass musician, the high and low range is something that takes a lot of effort to master. How important is register for my artistic expression and how does register influence my music? My method to test this is by composing with a template where I have three musical components that I arrange in different registers. The first component is melody. The second one is ostinato, which in this thesis means something rhythmical that creates movement through time. The last component is harmony. In the next part of the thesis, I analyze all of my compositions and describe how I have worked with the template. I have also written about what difficulties we encountered as a band when we rehearsed the music. The band consists of me on trombone and bass trombone, Olle Vikström on tenor and baryton saxophone, Sara Karkkonen on piano, Johan Tengholm on bass and Henrik Jäderberg on drums. In the end of this thesis I discuss how register have influenced how the components work together like the clarity of the melody and how the harmony is affected by the melody.I find the instrumentation is of higher influence than the register but this specific constellation of instruments may have influenced how I perceive the components.

Konserten innehöll Fem originalkompositioner av Simon Skogh

Det var följande låtar

Vårflod

Väg 83

Stresspåsag

Reserestriktioner

Lyckligt slut

Medverkande musiker var

Simon Skogh tenortrombon och bastrombon

Olle Vikström tenorsaxofon och barytonsaxofon

Sara Karkkonen piano

Johan Tengholm Bas

Henrik Jäderberg Trummor

På grund av ett tekniskt fel fungerar inte en video som är inlagd i mitt arbete på sida 5 den är därför en egen fil uppladdad här.

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Woods, Christopher P. "A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2740/.

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The transcription is an addition to the repertoire for brass ensemble and bass trombone. Consideration is given to the nineteenth-century orchestration treatises of Berlioz and Strauss as well as the twentieth-century texts of Erik Leidzén, Walter Piston, and Samuel Adler. The transcription process is shaped by the principles of these writers. The score is contained in the appendix.

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Camp, Douglas Wayne. "The Preparation and Performance of Selected Schubert Songs for Bass Trombone and Piano." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195369.

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This document will examine how Schubert's songs can be used to increase the existing bass trombone solo literature. The primary focus is on the process of selecting, organizing, and arranging songs for the purpose of creating an original instrumental performance edition. The document will discuss elements that influence individual song selection, compositional attributes of the music, the drama represented through the text, and the boundaries these expressive components impose on the arranging process. The arranging process is discussed for nine individual songs including compositional elements which might influence the ordering of songs in a specific performance. A brief historic discussion overviews the role of the bass trombone in early nineteenth-century classical music, Schubert's life in regards to his contribution to song literature, and the influence of politics and economics during Schubert's life. An extensive Appendices contains a recommended list of Schubert lieder recordings, detailed text translations, bass trombone solo parts and full piano scores for all nine songs arranged for this document.

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Kaspar, Lucas J. "The Bass Trombonist's Guide to the Tuba Repertoire." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu153193743404808.

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Gassler, Christopher J. "The Contributions of Thomas G. Everett to Bass Trombone Repertoire, Literature, and Research." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/gassler%5Fchristopher%5Fj/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by 4 recitals, recorded Apr. 8, 1996, Jan. 27, 1997, Nov. 30, 1998, and June 24, 2002. Includes bibliography of trombone music (p. 44-53); other bibliographical references (p. 54-67).

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Hinman, Daniel Joseph. "Pedagogical Use of Plainchant for Trombone: Its Application in Legato Studies and Ensemble Playing." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752383/.

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The purpose of this research is to explore the benefits of chant music and its pedagogical applications for the individual trombonist or ensemble member. Several common method books are examined and categorized as either musical exercise or lyrical etude. Through this analysis I highlight a gap between the two method types that can be bridged through practice of chant. I support this claim through an analysis of chant characteristics that make it an ideal candidate to encourage pure sound production and connection in a performable work. Practice of chant in trombone chamber or choir ensembles will also encourage the development of skills necessary to play as a member of a group. I propose regular practice of this music will aid the ensemble in blend and balance, intonation, articulation, and slide coordination. The final chapter of the research provides the reader with a brief summary of the works refenced to promote further study as one chooses.

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Henningsson, Andreas. "Fem och en halv komposition : Skriftlig reflektion inom självständigt, konstnärligt arbete." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3051.

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In this work I have explored different ways of communicating the notated music (even in a more abstract form) to the musicians. How can I develop the aesthetics I am aiming for by using specific techniques in notation. I have also investigated how to incorporate the strengths of each improviser and whether it is possible to use these strengths as a compositional factor The group consists of a group of seven musicians playing 9 different instruments in total: trumpet, trombone, mellophonium, alto saxophone, tenor saxophone, clarinet, bass trombone, double bass and drums. During this project I wanted to make the most of composing and arranging for this particular constellation of instruments and the musicians who plays them. The music I have written is for the most part influenced by jazz but sometimes bordering to a more classical or orchestral approach. In this project, I have challenged myself as an instrumentalist and a composer by utilizing a low C-string on the double bass. And while it made some passages more technically difficult to execute on the instrument, it has pushed me forward as a composer in wanting to explore all the different sounds and timbres available. The project resulted in a recording session at Sunnanå Studio, Sweden.

Repertoar samt mediedokumentation:

1. Preludium (kompositör: Andreas Henningsson)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone

2. Faktiskt (kompositör: Petter Hängsel)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor

3. Musikhandlaren (kompositör:Andreas Henningsson

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor

4. Gikt Fever (kompositör: Petter Hängsel)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor

5. Humoresque pour les Chats (kompositör: Andreas Henningsson)

Andreas Henningsson-Kontrabas, Petter Hängsel, Mellofon, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett och Tenorsaxofon, Kristoffer Rostedt-trummor

6. Interludium (kompositör: Petter Hängsel)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone

7. Three Brothers (kompositör: Andreas Henningsson)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor

8. Roll (kompositör: Petter Hängsel)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor

9. Valse des Bois (kompositör: Petter Hängsel)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor

10. KB Moods (kompositör: Andreas Henningsson)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor

11. Postludium (Kompositör: Andreas Henningsson och Petter Hängsel)

Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone

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14

Thomas, Casey Winn. "Valve technique for the independent double-valve bass trombone: a pedagogical review and method." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5863.

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Among the instruments of the Western orchestra, the bass trombone has experienced the most transformation. Such evolution has included an expansion of the bore and bell diameter, inclusion of initially one and now two valves, and experimentation with variable-bore hand and tuning slides. Consequently, composers of orchestral music and solo bass trombone literature have expanded the demands placed upon the bass trombonist. Various methodologies have been developed to address the ever-expanding musical expectations of the bass trombonist, with some pedagogical aspects having been addressed more than others. One particular pedagogical subject that bears more investigation is the proper usage of valves, and that is the subject area that the following document examines and seeks to address. The author will provide the bass trombonist and his or her teachers with a basic understanding of the history of the bass trombone, including a short discussion about the limitations of the technical capabilities of the valve-less and single-valve bass trombone. The realized method will provide the bass trombonist with the tools to make intelligent decisions about which valve and slide combinations to use and why, to the point that the informed bass trombonist will become the master of the instrument.

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Lamb, Christopher. "Blueline Concerto: Critical Essay." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283800/.

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The purpose of this critical essay is two-fold. First, the essay presents a detailed critical analysis of my original composition, Blueline Concerto for bass trombone and wind ensemble. Second, using Blueline Concerto, the essay presents preliminary findings of my study to develop an approach to composing that takes into account the musicians' health, specifically regarding noise induced hearing loss (NIHL). Through various hypothesized composition- and orchestral-based approaches, I test effectiveness on changes in NIHL risk while also noting that artistic merit and compositional integrity is preserved.

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Norton, Colby Jackson. ""Worlds Beyond": A Stylistic Analysis of Collage in the Music of Daniel Schnyder as a Universal Model for the Bass Trombone Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707313/.

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The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.

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Costantino, Alexander. "The Cimbasso and Tuba in the Operatic Works of Giuseppe Verdi: A Pedagogical and Aesthetic Comparison." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31531/.

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In recent years, the use of the cimbasso has gained popularity in Giuseppe Verdi opera performances throughout the world. In the past, the tuba or the bass trombone was used regularly instead of the cimbasso because less regard was given to what Verdi may have intended. Today, one expects more attention to historical precedent, which is evident in many contemporary Verdi opera performances. However, the tuba continues to be used commonly in performances of Verdi opera productions throughout the United States. The use of the tuba in the U.S. is due to a lack of awareness and a limited availability of the cimbasso. This paper demonstrates the pedagogical and aesthetic differences between the use of the tuba and the modern cimbasso when performing the works of Giuseppe Verdi operas.

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陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.

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Souto, Andrés Juan Carlos. "Bases genéticas de los componentes de la hemostasia y del riesgo de enfermedad tromboembólica." Doctoral thesis, Universitat Autònoma de Barcelona, 2001. http://hdl.handle.net/10803/4361.

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La trombosis es una enfermedad compleja, resultado de la interacción de múltiples genes y factores ambientales. El estudio de su base genética precisa técnicas especiales de Epidemiología Genética para el análisis de rasgos cuantitativos no mendelianos, como son los fenotipos de la hemostasia potencialmente relacionados con la enfermedad trombótica. Estas técnicas nunca han sido utilizadas hasta ahora. Se han reclutado 21 grandes familias españolas, con un total de 398 individuos. Doce familias presentaban trombofilia idiopática y las 9 restantes se reclutaron aleatoriamente entre la población general. Se han determinado 40 fenotipos de la hemostasia y un panel extenso de marcadores genéticos. El análisis estadístico genético se ha realizado con el método de componentes de la variancia y el programa especializado "SOLAR". Todas las estimaciones han sido obtenidas después de controlar el efecto de las siguientes covariables ambientales: edad, sexo, tabaquismo y uso de anticonceptivos orales. Puesto que 12 familias se reclutaron a través de un propositus con trombofilia, las estimaciones presentadas también han sufrido una corrección estadística para evitar sesgos y obtener resultados aplicables a la población general. Los principales resultados son:
1. La variabilidad de los fenotipos plasmáticos de la hemostasia esta determinada por los genes. La heredabilidad (h2) de la mayoría de ellos es superior al 30%
2. El riesgo de trombosis tiene una base genética o heredabilidad muy alta: h2 = 61 ± 16%. Los genes responsables del riesgo de trombosis venosa parecen ser en gran parte los mismos que determinan el riesgo de trombosis arterial.
3. Los siguientes fenotipos están correlacionados genéticamente (rG > 0) con el riesgo de trombosis: RPCa, F VII, F VIII, F IX, F XI, F XII, F von Willebrand, t-PA, homocisteína, folato sérico y tiempo de protrombina mediado por trombomodulina. Esto significa que parte de los genes que regulan su expresión plasmática también influyen en el riesgo de enfermedad.
4. Los genes que regulan los factores dependientes de la vitamina K (F II, F VII, F IX, F X, proteína C y proteína S) forman un grupo de pleiotropía.
5. La mutación PT G20210A es funcional respecto a los niveles de protrombina en plasma y también respecto al riesgo de trombosis. El polimorfismo de grupo sanguíneo ABO es funcional respecto a los niveles plasmáticos de factor VIII y factor von Willebrand
6. Estos y otros resultados justifican la realización de un Análisis Global del Genoma, en busca de los genes implicados en la variabilidad de los fenotipos estudiados y, especialmente, del riesgo de trombosis.
Thrombosis is a complex disease resulting from the interaction between multiple genes and environmental factors. The study of its genetic basis needs special methods of Genetic Epidemiology, designed for the analysis of non-mendelian quantitative traits, like hemostasis phenotypes, potentially related with thrombotic disease. These techniques have never been used in this field. They have been recruited 21 extended Spanish pedigrees, accounting for a total of 398 individuals. Twelve families showed idiopathic thrombophilia, and the remaining 9 families were recruited randomly among general population. A total of 40 hemostasis related phenotypes and a big number of genetic markers have been determined. The statistical genetic analysis has been performed using a variance components model included in the software called "SOLAR". All the statistical estimations have been obtained after controlling the effect of several environmental co-variates: sex, age, smoking and oral contraceptive use. Because 12 families were recruited through a thrombophilic proband, the estimations have been statistically corrected to avoid biases and to obtain valid results for the general population. The main results are:
1. The variability of hemostasis plasma phenotypes is genetically determined. The heritability (h2) of most of them is higher than 30%.
2. The risk of thrombosis has a very high heritability: h2 = 61 ± 16%. The genes responsible for venous thrombosis seem to be, in part, the same that determine the risk for arterial thrombosis.
3. The following plasma phenotypes are genetically correlated (rG > 0 ) with thrombotic risk: APCr, F.VII, F.VIII, F.IX, F.XI, F.XII, F. Von Willebrand, t-PA, homocysteine, serum folate and prothrombin time in presence of thrombomodulin. That means that part of the genes that regulate their plasmatic levels also influence the risk of thrombosis.
4. The genes that regulate vitamin K-dependent factors (factors II, VII, IX and X, protein C and protein S) constitute a group of pleiotropy.
5. The mutation PT G20210A in the prothrombin gene is functional in relation to prothrombin plasma levels and the risk of thrombosis. The polymorphism responsible for the ABO blood group is functional in relation to plasma levels of factor VIII and factor von Willebrand.
6. These results justify a full genome scan analysis in search of the genes responsible for the variability of the studied phenotypes and, specially, of the thrombosis risk.

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Wood, Jeriad. "Doctoral thesis recital (bass trombone)." Thesis, 2012. http://hdl.handle.net/2152/24020.

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Workman, Darren. "Doctoral thesis recital (bass trombone)." 2010. http://hdl.handle.net/2152/16003.

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Hosannah / Franz Liszt -- Sonata no. 3 in F major / Johann Ernst Galliard -- Concert allegro / Alexey Lebedev -- Frost fire / Eric Ewazen -- Variations on Palestrina's "Dona nobis pacem" / David Fetter -- Capriccio / Steven Verhelst -- Variations on "Turkey in the straw" / James Markey.
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Cardoso, Fernando S. "Master's thesis recital (bass trombone)." 2012. http://hdl.handle.net/2152/19197.

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Introducaoe/ao desafio / Edmundo Villani-Cortes -- Sonata breve / Walter Hartley -- Sonata / David Gillingham -- Two songs / Robert Spillman -- Fantaisie concertante / Jacques Casterede -- Variations on Barnacle Bill, the sailor / Steven Frank.
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Workman, Darren. "Doctoral thesis recital (bass trombone)." 2011. http://hdl.handle.net/2152/16593.

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Trio sonata op. 1, no. 3 / A. Corelli -- Choros no. 4 for three horns and trombone / H. Villa-Lobos -- Brass quintet no. 2, op. 6 / V. Ewald -- Meditation from Thais / J. Massenet -- Street song / M. T. Thomas -- Wagner for five bones / R. Wagner.
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Wood, Jeriad. "Doctoral thesis recital (bass trombone)." Thesis, 2013. http://hdl.handle.net/2152/23176.

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"Vaclav Nelhybel: An Introduction to His Works for Trombone Solo and Trombone Ensemble." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55551.

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abstract: Vaclav Nelhybel (1919-1996) composed over 600 works, a significant number of which were never published. The trombone is included in more than 200 of Nelhybel’s compositions, some featuring the instrument in a solo role and also as a key contributor in many of his chamber and large ensemble works. The goal of this project is to bring this significant body of trombone literature into the light by examining his seventeen compositions that feature the trombone in solos and trombone ensembles; this paper also includes a select listing of other works by Nelhybel that include the trombone. The seventeen highlighted pieces include nine works for solo trombone and eight for trombone ensemble. This paper also contains background information on the composer and a brief discussion of his overall compositional history, focusing on the last thirty years of his life when he was most active as a composer and became one of the most prominent figures in the wind band movement in the United States. The central portion of the paper describes each of Nelhybel’s compositions that feature the trombone and is divided into three sections: the trombone as solo instrument in published works, an unpublished Concerto for bass trombone, and chamber works for two or more trombones alone. Discussions of key pedagogical aspects, recurring features and techniques, each piece’s difficulty level, and suggestions for performance are included for added depth.
Dissertation/Thesis
Doctoral Dissertation Music 2019

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Marks, Jeremy. "Doctoral thesis recital (lecture) bass trumpet." Thesis, 2013. http://hdl.handle.net/2152/23315.

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"The Thomas G. Everett Collection: A Compendium of Selected Materials Donated by Bass Trombonist Thomas G. Everett." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53538.

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abstract: This document is a compendium of the materials that are housed within the special collections donated by Thomas Everett. In August 2016, the Arizona State University School of Music, through the efforts of retired Professor of Trombone Douglas Yeo, received a donation of materials from Thomas Everett, founder of the International Trombone Association and retired director of bands at Harvard University. This donation contains published and unpublished music, numerous letters, and various drafts of his book, An Annotated Guide to Bass Trombone Literature. Over the course of two-and-a-half years, the donation was catalogued for the university by the author. Materials from the donation were sent into public circulation or sent into special collections within the ASU School of Music Library.
Dissertation/Thesis
Doctoral Dissertation Music 2019

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Soares, Rafael Martins. "O impacto dos exercícios de aquecimento/técnica de base no ensino do trombone." Master's thesis, 2019. http://hdl.handle.net/10773/27444.

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O presente projeto procura compreender o impacto dos exercícios de aquecimento/técnica de base na performance do trombone, a nível da consolidação dos seus aspetos técnicos e consequente evolução. Assim, numa primeira instância procura compreender a opinião dos professores e alunos de trombone em Portugal sobre os exercícios de aquecimento/técnica de base e, numa segunda instância, entender o impacto da presença, execução e valorização destes exercícios por parte dos alunos a nível da sua prática em estudo diário, observando a sua evolução a nível da performance do trombone. O projeto teve uma duração aproximada de 6 meses, com uma amostra de 3 participantes, com idades compreendidas entre os 10 e 14 anos. Os resultados demonstraram que os exercícios de aquecimento/técnica de base aplicados em contexto de aula contribuíram para a evolução dos alunos a nível da sua performance do trombone, quer ao nível de aulas e estudo diário, quer ao nível da prática em público
The present project seeks to understand the impact of the warm-up / technical exercises on the performance of the trombone, in terms of the consolidation of its technical aspects and consequent evolution. Thus, in the first instance, it seeks to understand the opinion of trombone teachers and students in Portugal on basal heating / technique exercises and, in a second instance, to understand the impact of the presence, execution and valorisation of these exercises by students on their daily study, and observing its evolution in the performance of the trombone. The project lasted approximately 6 months, with a sample of 3 participants, aged between 10 and 14 years. The results demonstrated that the warm-up exercises / basic technique applied in class context contributed to the students' evolution in their trombone performance, both at classes and daily study, as well as at their practice in public
Mestrado em Ensino de Música

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29

Frost, Daniel P. "Doctoral thesis recital (tuba)." Thesis, 2013. http://hdl.handle.net/2152/23893.

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Felleskap for two tubas / James D. Thornton -- Fantasy for flute and tuba / Ben Miles -- Duo for bass trombone and tuba / Ron Newman -- Morgenmusik / Paul Hindemith -- Two Miniatures / Matt Hightower -- The carnival of Venice / J. B. Arban.
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30

"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160

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Berger, Steven. "Compositions [Instrumental music. Selections]." Thesis, 1992. http://hdl.handle.net/2429/2425.

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Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

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Wilcher, Marcus. "Real talk." Thesis, 2014. http://hdl.handle.net/2152/25255.

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This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. It is divided into six chapters, four of which are analytical and cover the following topics: Form, Melody, Harmony, and Other Compositional Techniques. Subcategories are used within these chapters to draw attention to specific compositional components relevant to the construction of the piece; illustrative tables and examples have been provided to assist in describing these components. The ultimate purpose of this document is to describe in detail my technical approach to the composition.
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Dissertations / Theses on the topic 'Bass trombones'

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