Dissertations / Theses: 'Solo trombone'

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Schlomowitz, Matthew. "False relation : for solo trombone, solo guitar, ensemble and CD /." May be available electronically:, 2003. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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D.M.A. final project--Department of Music, Stanford University, May 2003. For solo trombone, solo guitar, flute, clarinet, percussion, viola, cello, double bass, and CD. Duration: 21:00. Includes performance instructions.

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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.

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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.

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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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Pinson, Donald Lynn. "History and current state of performance of the literature for solo trombone and organ." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9050.

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Thesis (D.M.A.)--University of North Texas, 2008. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 1, 2004, Jan. 31, 2005, Jan. 30, 2006, and Apr. 21, 2008. Includes bibliographical references (p. 50-64), and discography (p. 41-49).

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Chilton, James Gregory. "Non-intentional performance practice in John Cage's Solo for Sliding Trombone." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/30761.

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This dissertation provides a study guide to aid trombonists in understanding and appreciating the Solo for Sliding Trombone (1957-58), one of the many solo parts from the Concert for Piano and Orchestra (1957-58) by John Cage (1912-1992). This seldom-performed piece of contemporary music is often misunderstood and is overlooked as an important part of the trombone repertoire. This document aims to help trombonists seeking to perform unaccompanied trombone music to develop an understanding of Cage's aesthetic of non-intentional performance and a greater interest in learning this work. In particular, this dissertation addresses the question of how one can perform the Solo with non-intention in spite of the fact that practicing and rehearsing are required to play the work. The Solo score presents new challenges for the trombonist in terms of using all parts of the trombone, as well as a wide selection of mutes, to produce various sounds and timbres in ways never before conceived for the instrument. To approach this work, the trombonist must also reconsider his or her performance practice; they must learn to maintain extreme patience in performance and must transform the way they listen to and treat "silence." This work was the first indeterminate solo composition for the instrument. This document considers the context and compositional process for this piece, provides guidelines for performing the Solo, examines recordings of the work, and discusses its influence on later compositions for trombone. Thus, this dissertation presents the first extensive scholarly study of Cage's Solo for Sliding Trombone. Arts, Faculty of Music, School of Graduate

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Pinson, Jr Donald Lynn. "History and Current State of Performance of the Literature for Solo Trombone and Organ." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9050/.

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More than 200 compositions have been written for solo trombone and organ since the nineteenth century, including contributions from notable composers such as Franz Liszt, Gustav Holst, Gardner Read, Petr Eben, and Jan Koetsier. This repertoire represents a significant part of the solo literature for the trombone, but it is largely unknown to both trombonists and organists. The purpose of this document is to provide a historical perspective of this literature from the nineteenth century to the present, to compile a complete bibliography of compositions for trombone and organ, and to determine the current state of performance of this repertoire. This current state of performance has been determined through an internet survey, a study of recital programs printed in the ITA Journal, a study of recordings of this literature, and interviews and correspondence with well-known performers of these compositions. It is the intention of this author that this document will serve to make the repertoire for trombone and organ more accessible and more widely known to both trombonists and organists.

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Silva, Gilvando Pereira da. "Inventiva nº1 para trombone solo Francisco Fernandes Filho (Chiquito): estudo estilístico e interpretativo." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6604.

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Made available in DSpace on 2015-05-14T12:52:31Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1474085 bytes, checksum: 53eebfe63eaaa4517135ec0d8600346b (MD5) Previous issue date: 2012-07-10 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES This paper discusses the challenge of the trombone performance in interpreting the work Inventiva No. 1 for solo trombone Francisco Fernandes Filho, known as Maestro Chiquito. The first stage of this research deals with the history of the composer's life, contemplating with his characters and events the importance of Maestro Chiquito for instrumental music of Paraiba. The second approach we intend to do a technical and expressive elements of a general scope of the music written for trombone, and stylistic elements found in the composer's work for trombone above. In the third and last, we demonstrate the concepts of interpretative Inventiva No. 1 for solo trombone, which represent a considerable portion of relevance to the trombone repertoire in Brazil. In the methodology of this research were readings that underlie the concepts of musical performance of the performer, the compositional process of music for trombone, as well as discussions about the work being studied in order to have an understanding of the concepts and interpretive style for the executed, where we use various instruments to collect data such as photographs, interviews and analysis of the interviews, addition to the literature review and consultation Internet. It is hoped that with this whole process seen and analyzed on the music written for the trombone Maestro Chiquito, serve as a parameter to other trombonists will use as study material. Este trabalho discute o desafio da performance do trombonista em interpretar a obra Inventiva nº1 para trombone solo de Francisco Fernandes Filho, conhecido como Maestro Chiquito. O primeiro capítulo desta pesquisa trata da história de vida do compositor, contemplando com seus personagens e eventos a importância do Maestro Chiquito para a música instrumental da Paraíba. No segundo capítulo buscamos uma abordagem dos elementos técnicos e expressivos num âmbito geral da música escrita para trombone, bem como os elementos estilísticos encontrados na obra para trombone do compositor acima citado. No terceiro e último capítulo demonstramos as concepções interpretativas da Inventiva nº1 para trombone solo, que constituem considerável parcela de relevância para o repertório do trombone no Brasil. Na metodologia desta pesquisa foram feitas leituras que fundamentaram os conceitos da performance musical do instrumentista, o processo composicional da música para trombone, bem como, discussões a cerca da obra em estudo, afim de se ter um entendimento das concepções interpretativas e de estilo para a execução da mesma, onde utilizamos de vários instrumentos de coleta de dados,como, fotografias, entrevistas e análise das entrevistas, além da revisão bibliográfica e consulta a internet. Espera-se com isso, que todo o processo visto e analisado sobre a música escrita para trombone do Maestro Chiquito, sirva de parâmetro para que outros trombonistas venham a utilizar como material de estudo.

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Aldag, Daniel J. "The influence of jazz on timbre in selected compositions for solo trombone." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/aldag%5Fdaniel/index.htm.

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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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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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Flanigan, Sean Gerard. "From Deux Danses to Fluctuations: Compositional components and innovations in two solo trombone works of Jean-Michel Defaye." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/flanigan%5Fsean%5Fgerard/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 June 28, 1999, Jan. 24, 2000, Jan. 29, 2001, and Apr. 10, 2006. Includes bibliographical references and discography (p. 66-70).

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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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Scott, Deb. "Supplemental studies for mastering extended techniques in three late twentieth-century works for solo trombone Luciano Berio's Sequenza V, Folke Rabe's Basta and Mark Phillips' T. Rex, together with three recitals of selected works by Wagenseil, Grødahl, Gotkovsky, and others /." connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.unt.edu/theses/open/20041/scott%5Fdeb/index.htm.

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Tucker, Wallace E. (Wallace Edward). "The Solo Tenor Trombone Works of Gordon Jacob: A Lecture Recital, Together with Three Recitals of Selected Works by L. Bassett, W. Hartley, B. Blacher, E. Bloch, D. White, F. David, G. Wagenseil, J. Casterede, L. Larson, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330731/.

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The three recitals consisted of performances of original eighteenth, nineteenth and twentieth century solo works for trombone with the exception of Lyric Suite for Euphonium and Piano by Donald White, Divertimento for Trumpet, Trombone and Piano by Boris Blacher, and Dialogue and Dance for Trombone and Tuba by Newel Kay Brown. The premiere performance of Straight As An Arrow for B-flat-F Trombone and Prepared Tape by Ronn Cox and Dean Crocker was also included. After presenting a brief biography and discussing Gordon Jacob's (1895-1984) stylistic influences, the lecture continues with a Tonal, Motivic and Formal analysis of his three works for solo tenor trombone: Concerto for Trombone and Orchestra, Concertino for Trombone and Wind Orchestra, and the Trombone Sonata. Tonality, modality, polymodality and free association of pitches are elements that are present at one time or another in these compositions. Jacob's inclination for using the folk song style is evident in his writing, especially in the slow movements. Introductions, transition areas, and secondary themes, with tonally ambiguous harmonies and instrumental concepts of melodies, create a tension that is released by the return to tonality in the areas that follow. Treatment of rhythmic and melodic motives helps produce the special quality found in Gordon Jacob's compositions. Over half the themes in the works being investigated are built around motivic development. Neoclassicism results from the use of forms rooted in earlier centuries, but the choice of key centers gives these forms a new life. Jacob's composition of absolute music, as well as his use of the older compositional techniques of parallel harmonies and slow introductions, reflect neoclassical practices. The performance of Jacob's pieces is facilitated by his use of musical materials idiomatic to the instrument.

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Lima, Daniel. "Vinte e Cinco Peças de José Ursicino da Silva (Maestro Duda) Transcritas e Adaptadas para Trombone Solo e Piano." Universidade Federal da Bahia, 2017. http://repositorio.ufba.br/ri/handle/ri/25365.

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Submitted by Daniel Lima (danielvictor360@yahoo.com.br) on 2018-02-01T20:23:59Z No. of bitstreams: 1 TRABALHO DE CONCLUSÃO FINAL.pdf: 123383598 bytes, checksum: 02bd5af92184e70bc47e7588d2575347 (MD5) Approved for entry into archive by Nilson Nascimento Souza (nilson@ufba.br) on 2018-02-26T14:15:32Z (GMT) No. of bitstreams: 1 TRABALHO DE CONCLUSÃO FINAL.pdf: 123383598 bytes, checksum: 02bd5af92184e70bc47e7588d2575347 (MD5) Made available in DSpace on 2018-02-26T14:15:32Z (GMT). No. of bitstreams: 1 TRABALHO DE CONCLUSÃO FINAL.pdf: 123383598 bytes, checksum: 02bd5af92184e70bc47e7588d2575347 (MD5) Universidade Federal da Bahia O maestro José Ursicino da Silva (maestro Duda) é um dos mais importantes compositores do Brasil ainda em atividade. A sua orquestra e os seus inúmeros frevos contribuíram muito para este destaque no cenário nacional. É possível encontrar em sua obra uma grande variedade de peças compostas para várias formações instrumentais, sendo muitas destinadas para instrumentos solistas específicos, como as peças para trompete, trompa, trombone, entre outros. Este trabalho contém vinte e cinco peças do maestro Duda, formadas por dezenas de melodias reunidas em suítes, concertinos, coletâneas, músicas para metais, fantasias, etc. A partir da análise das obras, da transcrição e da adaptação foi possível fazer com que todas as peças aqui selecionadas pudessem ser tocadas por trombone solo e piano. A riqueza das obras compostas pelo maestro Duda e o desejo de ampliação do repertório brasileiro para trombone solo e piano motivaram a pesquisa em questão. No trabalho apresento a entrevista com o maestro Duda, o artigo, o memorial e as atividades profissionais desenvolvidas no decorrer do meu curso de Pós-Graduação Profissional em Música-Mestrado, na área de Criação Musical–Interpretação. The conductor José Ursicino da Silva (maestro Duda) is one of the most important composers of Brazil still in activity. His orchestra and his numerous frevos contributed much to this highlight in the national scene. It is possible to find in his work a great variety of composite pieces for various instrumental formations, many of which are destined for specific solo instruments, such as trumpet, horn and trombone pieces, among others. This work contains twenty-five pieces by maestro Duda, consisting of dozens of melodies gathered in suites, concerts, compilations, music for me tals,fantasies, etc. From the analysis of works, transcription and adaptation it was possible to make all the pieces selected here could be played by solo trombone and piano. The richness of the works composed by maestro Duda and the desire to expand the Brazilian repertoire for trombone solo and piano motivated the research in question. In the work I present the interview with maestro Duda, the article, the memorial and the professional activities developed during my course of Professional Post-Graduation in Music- Masters (Maester of Musical Arts), in the area of Musical Creation- Interpretation.

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Oliver, Jason L. "The Creation of a Performance Edition of the Georg Christoph Wagenseil Concerto for Trombone with Attention Given to the Surviving Manuscripts and Primary Sources of Performance Practice from the Middle of the Eighteenth Century." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30500/.

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The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such attention had been lacking in previous decades. Chapter 2 examines the life and musical background of the composer. Chapter 3 discusses the history surrounding the possible origin of the Concerto and its performance history. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 details the creation of an urtext edition of the Concerto. Chapter 6 concludes this document with a performer's guide to the work based on the urtext edition of the solo trombone part to create the performance edition. This performance edition of the work includes historically informed solutions to the problematic technical elements of ornaments. The final section of the chapter makes suggestions regarding the preparation and performance of a historically informed version of the Concerto for Trombone.

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Zugger, Thomas W. "The Influence of Jazz and Popular Music on the American Trombone Concerto, A Selected Study of the Solo Trombone and Large Ensemble Works of Richard Peaslee, James Pugh, Howard Buss, and Dexter Morrill." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1393348259.

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Zugger, Thomas. "The influence of jazz and popular music on the American trombone concerto, a selected study of the solo trombone and large ensemble works of Richard Peaslee, James Pugh, Howard Buss, and Dexter Morrill /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158827096.

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Burnett, William Dayl. "An Exploration of Salient Performance Aspects of Three Selected Works for Solo Trombone by William Goldstein, Nino Rota and Richard Peaslee." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/388.

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This essay will explore the salient performance characteristics of three selected works for solo trombone by major composers of popular media. The works selected for this study are Colloquy for Solo Trombone and Symphonic Band by William Goldstein, Concerto for Trombone in C Major by Nino Rota, and Arrows of Time by Richard Peaslee. These composers have written extensively for television, motion pictures, theater, and dance. In addition to their significant popular media repertoire, these three composers have made a significant contribution to the solo trombonist's repertoire. Although these works have been performed, recorded, produced, and reviewed, they have not been studied together as a group, nor have they been established in the general repertoire for solo trombone.

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Gill, Jonathan B. "A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283827/.

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Hidas composed more than 135 compositions. Of these 135 compositions 67 feature the trumpet, horn, trombone, euphonium, and tuba in a solo setting, a homogenous chamber setting, or a heterogeneous chamber setting. The first section of this project presents the significance of the topic, state of research, and methodology. Chapter one provides a narrative detailing the collaboration of Hidas with Gusztáv Höna and László Szabó, Sr. Chapter two provides a brief description of characteristics found in Hidas' compositions. Appendix A and B provides a survey of the 67 works for brass instruments that Hidas composed. Included in this survey is information pertaining to the title, editor, publisher and date of publication, total measures, duration, ranges, degree of difficulty, clefs, special effects/techniques, instrumentation, dedications, analytical information, general comments, recordings, and rental details.

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Lewis, Michael E. (Michael Edward) 1952. "Solo Trombone Performances at the Gewandhaus in the Nineteenth Century: a Lecture Recital, Together with Three Recitals of Selected Works of G. Jacobs, S. Sulek, E. Bloch, C. Wagenseil, W. Ross, G. Pergolesi, T. George, F. Hidas, J. Albrechtsberger and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331410/.

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This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years. The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung. The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.

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Wolfinbarger, Steve M. "The Nineteenth-Century German Tradition of Solo Trombone Playing: A Lecture Recital, Together with Three Recitals of Selected Works of E. Bozza, W. Hartley, A. Frackenpohl, A. Pryor. G. Frescobaldi. L. Grondahl, P. Bonneau and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331705/.

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This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) . Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.

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Scott, Deb. "Supplemental Studies for Mastering Extended Techniques in Three Late Twentieth-Century Works for Solo Trombone: Luciano Berio's Sequenza V, Folke Rabe's Basta and Mark Phillips' T. Rex, Together with Three Recitals of Selected Works by Wagenseil, Grøndahl, Gotkovsky, and Others." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5544/.

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Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

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Spivey, Zachary James Rogner. "The Scriabin Mystic Hexachord as a Structural Harmonic and Motivic Device in Three Parables for Solo Instruments by Vincent Persichetti." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1628334738542662.

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Haecker, Arthur John IV. "The Tarab trombone: trombone etudes and solos based on Arabic music." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3462.

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Lancaster, Rodney Allen. "Transcription and Analysis of Selected Trombone Solos from J. J. Johnson's 1964 Recording Proof Positive." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/332.

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The purposes of the essay are to transcribe and analyze selected solos from the 1964 J. J. Johnson recording, Proof Positive as well as to increase the amount of analytical literature on J. J. Johnson presently obtainable for study by jazz trombonists. J. J. Johnson will further be affirmed as a jazz musician worthy of doctoral level study. Selected solos from the 1964 J. J. Johnson recording Proof Positive will be transcribed and analyzed in depth using a method of analysis incorporating improvisational devices identified by the author. A brief biography of J. J. Johnson is presented along with a review of jazz trombone history in order to provide perspective. A review of related literature will be provided as well. The study will be limited to those solos that meet a selection criterion. The specific solos that were selected met the standard of containing a substantial number of Johnson's characteristic improvisational devices. Melody, harmony, rhythm, and stylistic inflection within each solo are discussed in detail and musical examples from the improvisations are cited to provide emphasis. The 1964 J. J. Johnson recording, Proof Positive was chosen for transcription and analysis due to its historical significance as a seminal recording and for the fact that only "Stella by Starlight" has been published. The remaining trombone solos have not yet been readily made available for study.

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Schmidt, Johann Christoph. "Motetto Auf Gott hoffe ich: Für Alto-Solo, Coro (Soprano, Alto, Tenore, Basso) und 2 Clarini in D, 2 Trombe in D, Tympani, 2 Flauti allemando, 2 Violini, 2 Viole Fagotto e Basson concertato, Violoncello, Organo, Tiorba: Partitur." Ries & Erler, 2020. https://slub.qucosa.de/id/qucosa%3A74090.

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Die „Denkmäler der Tonkunst in Dresden“ veröffentlichen in sieben Bänden Werke des Dresdner Hofkapellmeisters Johann Christoph Schmidt (1664-1728) aus Hohnstein/Sächsische Schweiz, einem von der Dresdner Musikgeschichtsschreibung vergessenen Komponisten. Als erster Band erscheint unter der Editionsnummer 22 die Partitur des Motetto „Auf Gott hoffe ich“ für Alt-Solo, Chor und Orchester für 14 Stimmen. Die Ausgabe basiert auf einer Übertragung von Kirchenmusikdirektor Ulrich Meier, Auerbach/Vogtland, die im Rahmen einer Diplomarbeit an der Hochschule für Kirchenmusik Dresden 2001 entstand. Das Werk existiert nur in einer fehlerfreien Abschrift von Johann Sebastian Bach, die dieser vermutlich zwischen 1714 und 1716 offenbar für den eigenen Gebrauch in Weimar angefertigt hat.

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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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"Introduction of Soviet Trombone Literature to Western Trombone Repertoire." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.36460.

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abstract: The canon of music performed in recitals by American trombonists contains very few works for trombone by composers from Russia and the Soviet Union. Trombonists in the United States periodically perform trombone solos by Nikolai Rimsky-Korsakov, Alexei Lebedev, Vladislav Blazhevich, Gregory Kalinkovich, Alexander Tcherepnin, and Eugene Reiche. But these works represent a very small percentage of trombone solos performed in recitals in the United States, and compositions written after 1960 by composers in the U.S.S.R. are completely absent from recital programs. The purpose of this project is to identify several Soviet-era compositions for trombonists that are worthy of introduction into trombone recital programs in the West. To support the thesis that Soviet-Russian trombone music has been disproportionally under-represented in American recital programs, a survey of over 3300 trombone recitals given in the United States from 1972 to 2013 was conducted. Once a body of significant works that had previously not been performed on American trombone recitals was identified, they were acquired, analyzed, and several were performed. The following compositions represent a list of Soviet-Russian solos not programmed on any of the 3300 recitals: German Grigoryevich Okunev, Adagio and Scherzo; Gregory Markovich Kalinkovich, Concertino for Trombone; Pavel Davidovich Saliman-Vladimirov, Concertino for Trombone; Vadim Veniaminovich Kulyov, Concertino for Trombone; Vladislav Alexanderovich Uspensky, Concertino for Trombone and Orchestra; Sergei Vasilyev and Vladimir Robertovich Enke, Concerto for Trombone and Orchestra; Sergei Borisovich Chebotaryov, Rondo for Tuba; Victor Nikolaevich Smirnov, Scherzo; Alfred Garievich Schnittke,“Schall und Hall”;and Tatyana Alexseyevna Chudova, Sonata for Trombone. Dissertation/Thesis Doctoral Dissertation Music 2015

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Hsiao, Lan-Lan, and 蕭藍嵐. ""Can you listen?!" for Trombone solo with Piano accompaniment(2005)." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/87513684699768141228.

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碩士 國立交通大學 音樂研究所 94 “Can you listen” is a three movement trombone concert piece with piano accompaniment . The composer dedicates this piece to her father who has passed away. The music presents the mental situation of the composer from the day of her father’s illness, and she hopes that her father and all the audiences can feel the emotion in this piece. Therefore , she uses “Can you listen” as the title of this piece. This statement is divided into five parts : the foreword states the background of the composition ; the second paragraph states the motive and the thought of the composition ; the third paragraph describes how the composer decided the materials to write a trombone concert piece properly ; the forth paragraph shows the connection between the composer and the performer ; and the last paragraph is the thought of composition as a conclusion.

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Converse, Andrew H. "The contributions of Axel Jørgensen to the solo trombone repertoire of Denmark in the twentieth century." 2009. http://proquest.umi.com/pqdweb?did=1692381401&sid=2&Fmt=2&clientId=14215&RQT=309&VName=PQD.

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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009. Title from title screen (site viewed June 26, 2009). PDF text: x, 76 p. : music ; 2 Mb. UMI publication number: AAT 3350252. Includes bibliographical references. Also available in microfilm and microfiche formats.

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"Augmenting Jean Baptiste Arban’s Complete Method for Trombone Based upon the Demands of the Most-Performed Tenor Trombone Solo Literature." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49125.

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abstract: This thesis proposes an augmentation of the Complete Method for Trombone by Jean Baptiste Arban. Although it is widely considered one of the leading trombone method books in the world, a thorough consideration of the demands of most performed solo literature today reveals serious shortcomings in the Arban Method for preparing trombonists to encounter such demands as meter and rhythm, keys and tonalities, range and endurance, clefs and F-attachment usage. This thesis thus proposes additions for a new version of the Arban Method that better aligns with the playing demands of the most performed solo literature today, as compiled by the International Trombone Association Journal since 1972. Dissertation/Thesis Doctoral Dissertation Music 2018

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CHEN, CHUN-YAO, and 陳俊堯. "The Analysis and Interpretation of Bert Appermont’s Colors for Trombone Solo and Piano." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/c9h2w3.

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碩士 輔仁大學 音樂學系 106 Bert Appermont was born in Bilzen, Belgium, on the 27th of December, 1973. Is a Belgian young composer who is very active in the world music scene. He received a double master's degree in music education and command in Belgium in 1998. He was more in charge of the UK and joined the world music scene at the Bournemouth Media Academy. He studied television film music design Master's degree. At the age of 25, Abumpon wrote a world-famous work with cutting-edge posture. The work was written in the title "Colors". Instead of talking with the elders of friends, "color trombone concerto", not as direct as the original pronunciation of "Colors", we all call the original works of the original. This song is like a long pride of the same, nice but not unconventional. In this research paper, the main purpose is to study the musical style of Bert Appermont, to study and understand the composer's life, growth background, and composition style. For the music, by analyzing this "Colors" work, Learned about the various music structures, melody and various musical expressions in the music, explored in detail through these studies, and finally made in-depth exploration and interpretation of the "Colors" works.

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"Arrows of Time: A Transcription of Richard Peaslee's Trombone Solo for Brass Band." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17785.

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abstract: This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information. Dissertation/Thesis D.M.A. Music 2013

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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. text

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Sousa, Nuno Xavier Borges de. "Transcrição de solos jazz como ferramenta de aprendizagem para alunos de trombone no domínio da música erudita." Master's thesis, 2019. http://hdl.handle.net/10773/27530.

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O recurso a metodologias de aprendizagem de diferentes domínios musicais é frequentemente utilizado por professores para promover uma formação mais completa e equilibrada. O presente estudo é uma reflexão pessoal acerca da influência do recurso a exercícios utilizados no ensino do jazz, mais concretamente a técnica de transcrição de solos, nas capacidades aurais de alunos de trombone da vertente erudita. Sabendo que este tipo de prática geralmente não é contemplado nos planos de estudo do ensino instrumental erudito, foi implementada num grupo de cinco alunos de trombone uma intervenção educativa centrada na prática de transcrever e imitar solos de jazz. De forma a perceber que dimensões da prática do trombone poderiam beneficiar da prática de transcrição e imitação de solos, aplicou-se o Brass Performance Evaluation Report, tabela de avaliação especialmente criada para instrumentos de sopro metal, no início e no final da intervenção. Os resultados foram positivos e indicam que esta pode ser uma opção a ter em conta no ensino da vertente erudita do trombone The use of learning methodologies from different musical domains is often used by teachers to promote a more complete and balanced education. The present study is a personal reflection about the influence of exercises used in the teaching of jazz, more specifically the solo transcription technique, in improving the aural abilities of classical trombone students. Knowing that this type of practice is not generally applied in the study plans of scholarly instrumental teaching, an educational intervention centered on the practice of transcribing and imitating jazz solos was implemented on a group of five trombone students. In order to understand what dimensions of trombone practice could benefit from the practice of solo transcription and imitation, the Brass Performance Evaluation Report, an evaluation table specially created for metal wind instruments, was applied at the beginning and at the end of the intervention. The results were positive and indicate that this may be an option to consider in classical trombone teaching Mestrado em Ensino de Música

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Dissertations / Theses on the topic 'Solo trombone'

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