Relevant bibliographies by topics / Trombone – Histoire

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Trombone – Histoire'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Trombone – Histoire"

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Constantin, Marilena, Gabriel Zamfirescu, Cristina Voinea, and Sorin Constantinescu. "EOZINOFILIA – FACTOR TRIGGER PENTRU TROMBOZA VENOASĂ PROFUNDĂ ŞI EMBOLIA PULMONARĂ LA UN PACIENT CU TROMBOFILIE." Romanian Journal of Infectious Diseases 20, no. 4 (December 31, 2017): 212–15. http://dx.doi.org/10.37897/rjid.2017.4.8.

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Introducere. Infiltratele pulmonare şi eozinofilia reprezintă un grup heterogen de afecţiuni determinate de factori intrinseci si extrinseci. Factorii extrinseci reprezentaţi de medicaţie sau agenţi infecţioşi declanşează un răspuns eozinofilic imun. Raportăm cazul unui pacient de 53 ani, bărbat, cu infiltrat pulmonar si eozinofilie, secundare infecţiei cu Toxocara canis, care a fost diagnosticat cu tromboză venoasă profundă şi embolie pulmonară la o lună de la diagnosticul infecţiei cu Toxocara canis. Investigaţiile ulterioare au arătat prezenţa statusului procoagulant. Prezentarea cazului. În martie 2015, pacientul, în vârstă de 53 ani, s-a prezentat la consultaţie pentru durere intensă la nivelul toracelui posterior accentuată de inspir profund. Examenul clinic a fost în limite normale, dar tomografia computerizată fără substanţă de contrast efectuată în urgenţă a arătat infiltrat pulmonar la baza plămânului stâng cu reacţie pleurală. Analizele de sânge au indicat leucocite la limita superioară, eozinofilie (21,5%, 2.050/mm3) şi sindrom inflamator. Investigaţiile pentru eozinofilie au arătat reacţie pozitivăpentru Toxocara canis. Se începe tratamentul cu Albendazol 800 mg/zi cu răspuns favorabil. La interval de o lună, pacientul se prezintă pentru durere la nivelul gambei drepte. Testul pentru D-Dimer a fost intens pozitiv, ecografia Doppler venos confirmă diagnosticul de tromboză venoasă profundă, iar tomografia computerizată cu substanţă de contrast a descris embolie pulmonară. Pacientul a început tratamentul anticoagulant. A efectuat analizele de trombofilie care au fost pozitive pentru MTHFR A 1298C homozigot şi gena PAI1 675. Discuţii. Infecţiile cu helminţi se asociază cu eozinofilie. Helminţii care migrează spre viscere, cum este şi cazul Toxocarei canis, produc răspuns eozinofilic înalt. Întrebarea la care am încercat să răspundem a fost dacă eozinofilia a fost responsabilă pentru tromboze sau a reprezentat doar un factor de risc. Întrucât douăteste genetice pentru trombofilie au fost pozitive (MTHFR A 1298C homozigot şi gena PAI1 675), s-a considerat apariţia trombozei venoase şi a emboliei pulmonare în contextul statusului procoagulant al pacientului. Concluzii. Acest caz clinic subliniază implicarea eozinofiliei ca factor trigger pentru embolia pulmonară şi tromboza venoasă profundă.
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Wallace, Eric, Derek Klinge, and Kris Chesky. "Musculoskeletal Pain in Trombonists: Results from the UNT Trombone Health Survey." Medical Problems of Performing Artists 31, no. 2 (June 1, 2016): 87–95. http://dx.doi.org/10.21091/mppa.2016.2016.

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The trombone is a popular, versatile, and unique member of the brass family of musical instruments. Yet the musculoskeletal health concerns of trombonists are grossly understudied. The purpose of this study was to develop and apply a novel online research strategy for assessing musical and non-musical demographics along with prevalence, frequency, intensity, quality, timing, and location of site-specific trombone-related pain. Of the 316 trombonist respondents to this open survey, 76.6% (n=242) experienced trombone-related pain in one or more sites over the past year. Lip was the site with the highest prevalence rate for pain (23%). Selected pain sites were outlined in three primary clusters of musculoskeletal sites: 1) the lips and jaw region, 2) left upper extremity, and 3) back region. Over 35% (n=114) reported that trombone-related pain prevented playing their instrument. Site-specific characteristics of pain suggest that future epidemiologic studies seek to better understand location-specific intensity, frequency, quality, and timing of pain. Such details will assist educators, performers, and clinicians understand, prevent, and treat musculoskeletal problems associated with learning and performing musical instruments.
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Quarrier, Nicholas F., and Richard N. Norris. "Adaptations for Trombone Performance: Ergonomic Interventions." Medical Problems of Performing Artists 16, no. 2 (June 1, 2001): 77–80. http://dx.doi.org/10.21091/mppa.2001.2013.

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Performing arts health care practitioners need to be familiar with the ergonomic features of various musical instruments, many of which put the performer at increased risk for injury. An informed practitioner can advise regarding improving the fit between the musician and the musical instrument, in order to reduce stresses due to compression of the instrument against the body or to supporting the weight of the instrument. These modifications may alter the instrument itself and/or provide external devices, such as splints, straps, or stands that disperse and minimize stress on the performer. Various thermoplastic orthoses have been designed to reduce static loading on small body parts such as the right thumb in clarinetists and flutists. The purpose of the paper is to discuss the nature of instrumental modifications and present two case studies using a simple moldable splint as well as adaptations to the trombone itself.
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Linfield, Eva. "A new look at the sources of Schütz's Christmas history." Schütz-Jahrbuch 4 (August 18, 2017): 19–36. http://dx.doi.org/10.13141/sjb.v1983660.

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Die Quellenlage zu Schütz' Weihnachts-Historie ist komplizierter als bisher angenommen. Die einzige noch erhaltene Quelle mit dem Gesamttext befindet sich in Uppsala. Sie wurde bis jetzt als Frühfassung, SWV 435a, bezeichnet. Nach näherer Untersuchung stellt sich das Manuskript als ein Kompositum verschiedener Fassungen heraus, das sich sowohl aus Teilen der frühesten Version als auch aus der uns heute bekannten letzten Fassung der zehn Konzerte zusammensetzt. Die arbeit bemüht sich, die verschiedenen chronologischen Schichten herauszuarbeiten. Aufgrund von Schreiber- und Papieridentifizierung wird die Überlieferung der Quelle auf Dresden zurückgeführt. Die Korruption zweier Trombone-Stimmen kann an Hand der Quellenuntersuchungen bestätigt werden. Es wird die Hypothese aufgestellt, dass die der Komposition hinzugefügten Stimmen möglicherweise von einer Aufführung stammen, die mit Pohle, und demnach mit einer Aufführung in Halle in Zusammenhang gebracht werden können. Das Manuskript der Universitätsbibliothek Uppsala wirft verschiedene Fragen der Besetzung auf, die im Zusammenhang mit einer Rekonstruktion der Spätfassung diskutiert werden. Eine Neuausgabe der Weihnachts-Historie, die sich um einen korrekten Notentext bemüht und Fragen der Chronologie, Überlieferung und Besetzung einbezieht, wird durch die Verfasserin vorbereitet. (Vorlage)
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Chesky, Kris, Karendra Devroop, and James Ford. "Medical Problems of Brass Instrumentalists: Prevalence Rates for Trumpet, Trombone, French Horn, and Low Brass." Medical Problems of Performing Artists 17, no. 2 (June 1, 2002): 93–98. http://dx.doi.org/10.21091/mppa.2002.2013.

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This study examined the medical problems of musicians who primarily perform on a brass instrument. Data for this study (n = 739) were extracted from the University of North Texas Musician Health Survey data set. Subjects were included if they indicated either trumpet, trombone, French horn, or low brass as their primary instrument. Prevalence rates for one or more musculoskeletal problems were determined for the whole group and by instrument. For those subjects who reported problems at specific sites, average severity levels were derived from responses to a five-point grading scale. Additional prevalence rates for non-musculoskeletal problems were established for the whole group and by instrument. About 60% of the brass musicians reported having one or more musculoskeletal problems. The trombone group reported the highest rate (70%), followed by French horn and low brass (62%), and then trumpet (53%). Results suggest unique physical performance requirements and risks across the four main brass instrument groups and that future studies should examine each brass instrument group individually.
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Price, Kevin, and Alan HD Watson. "Effect of Using Ergobrass Ergonomic Supports on Postural Muscles in Trumpet, Trombone, and French Horn Players." Medical Problems of Performing Artists 33, no. 3 (September 1, 2018): 183–90. http://dx.doi.org/10.21091/mppa.2018.3026.

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AIMS: Though ergonomic supports are widely used for many groups of instruments, they are rare for brass instruments, despite the instruments’ considerable weight. Musculoskeletal injury and postural problems are common among this group, and so, both adult and young players are likely to benefit from supports that reduce the load placed on the body. This study assessed the effects on postural muscle activity of a recently developed range of supports (Ergobrass) that use a rod to transfer the weight of the instrument to a harness or to the chair or floor. METHODS: Twenty conservatoire students (mean age [SD], 20.9 ± 0.5 yrs) of the trumpet, french horn, or trombone used the supports while playing short brass studies, either sitting or standing. Surface electromyography recordings were made from key postural muscles, and their activity levels were compared with and without the support. RESULTS: Statistically significant reductions (typically 15–30%) were present in many of the muscles when using the supports, though in some players they were much larger. The number of muscles affected was least with the lightest instruments (the trumpet), with the effects mainly in the left deltoid and trapezius muscles. Reductions for the horn were bilateral, principally in biceps, pectoralis major, and deltoid; while in the trombone, they were confined to the left side (pectoralis major, posterior deltoid, and trapezius), as the right arm is in constant use to move the slide. CONCLUSIONS: The supports are effective in reducing postural muscle activity and may be of particular benefit to injured or young players.
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Stasney, C. Richard, Mary Es Beaver, and Margarita Rodriguez. "Hypopharyngeal Pressure in Brass Musicians." Medical Problems of Performing Artists 18, no. 4 (December 1, 2003): 153–55. http://dx.doi.org/10.21091/mppa.2003.4027.

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Brass instrument players are exposed to unique health risks due to increased pharyngeal pressures necessary for performance. One such risk is development of laryngoceles, or “blowout” of the larynx. This cross-sectional observational study was performed to determine the pressure required to play different frequencies in a variety of brass instruments. The hypothesis tested was that enharmonic frequencies require the same pharyngeal pressure regardless of the instrument. The brass instruments tested were high-pressure, low-flow instruments (trumpet or French horn) or low-pressure, high-flow instruments (tuba or trombone). We were not able to substantiate Jacobs’ theory that enharmonic frequencies resulted in equal pressures regardless of instrument, but we did elicit some high pressures in the hypopharynx when playing the trumpet or horn at higher frequencies.
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Du, Xiaohui, and Bei Jia. "Discussion on applying trombe wall technology for wall conservation and energy saving in modern historic buildings." International Journal of Architectural Heritage 13, no. 4 (February 26, 2018): 537–48. http://dx.doi.org/10.1080/15583058.2018.1440029.

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Moffitt, Dani M., Anne C. Russ, and Jamie L. Mansell. "Marching Band Camp Injury Rates at the Collegiate Level." Medical Problems of Performing Artists 30, no. 2 (June 1, 2015): 96–99. http://dx.doi.org/10.21091/mppa.2015.2016.

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Aims: Marching band camp injuries were recorded over the course of 1 week (10 field practices) to determine injury rate for preseason. Methods: Members were instructed to self-report any type of injury that occurred. The collected data were coded and analyzed for total injuries and injuries per section. The injury counts, along with total practices and band members per section, were used to calculate injury rate per 1,000 exposures for total injury and injury per section. Results: There were a total of 191 injuries reported in 1,540 practice exposures. The overall injury rate was 124.03/1,000 exposures. The instrument with the highest injury rate was the mellophone (220.0/1,000 exposures), followed by the trombone (190.0/1,000 exposures), and percussion (184.62/ 1,000 exposures). The instrument with the lowest injury rate was the clarinet (43.75/1,000 exposures). Conclusion: The findings demonstrate that marching band is a strenuous activity and deserves to be considered an area of emerging practice for athletic trainers and other health care professionals.
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Pearse, D. Linda. "The Sixteenth-Century Trombone: Dimensions, Materials and Techniques. Hannes Vereecke. Épitome musical. Turnhout: Brepols, 2016. 254 pp. €75." Renaissance Quarterly 71, no. 3 (2018): 1180–82. http://dx.doi.org/10.1086/700520.

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Dissertations / Theses on the topic "Trombone – Histoire"

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Santos, Alciomar Oliveira. "Un répertoire de musique brésilienne adapté à l’enseignement collectif du trombone." Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26852.

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Cette thèse, complémentaire à deux récitals donnés dans le cadre de la réalisation d’un doctorat en études pédagogiques et pratiques musicales instrumentales, a comme fil conducteur l’enseignement collectif du trombone au Brésil et examine le trombone sous trois angles : historique, pédagogique et dans une perspective d’interprétation musicale. Bien que le sujet ne soit pas nouveau, le projet présente une réflexion, sur le trombone et son enseignement, encore inexplorée en raison principalement du répertoire sélectionné pour la présente étude. En effet, à notre connaissance, le répertoire populaire brésilien n’a jusqu’à maintenant pas fait l’objet d’arrangements musicaux écrits, en vue d’une exploitation non seulement en contexte de représentation publique, mais aussi avec des visées pédagogiques. Les morceaux choisis ont été retenus en raison de leur contenu, qui présente un vocabulaire musical lié à la culture régionale de quatre des cinq régions géographiques du Brésil. Dans le processus de réalisation du projet, les morceaux choisis ont fait l’objet d’arrangements dans la perspective qu’ils servent comme outil pédagogique pour la formation en trombone, en contexte de musique brésilienne. Les arrangements ont été conçus pour des ensembles réduits, où le trombone tient fréquemment le rôle de soliste. Ainsi, au-delà des concepts et techniques issus de la formation traditionnelle reçue, l’interprétation des arrangements a été une occasion pour le doctorant et soliste de présenter, à travers l'improvisation dans le langage de la musique populaire brésilienne, les résultats de processus développés au cours des deux dernières années. Les partitions sont annexées au texte de la thèse, afin d'illustrer certains propos et avec l’objectif de soutenir les recherches futures dans ce domaine. La thèse est divisée en quatre chapitres lesquels, bien que présentés séparément, possèdent entre eux d’étroites relations. Le premier chapitre donne un aperçu général de l'histoire de l'instrument, à travers les cinq siècles de son existence. Le deuxième chapitre s’articule autour de l'histoire de la musique brésilienne et de la présence du trombone au Brésil. Le troisième chapitre présente d’abord un aperçu de l’enseignement artistique et musical au Brésil au 20e et 21e siècle, poursuit en abordant la situation de l'enseignement du trombone au Brésil et aboutit à une proposition favorisant l’apprentissage du trombone en contexte d’enseignement musical collectif. Finalement, le quatrième chapitre fait un retour sur l’expérience musicale vécue dans le premier volet du projet, celui se rapportant à la pratique musicale instrumentale, établit des liens et trace des pistes dans une perspective d’enseignement et d’apprentissage du trombone.
This thesis, in conjunction with two recitals given toward fulfillment of a doctoral degree in pedagogical studies and instrumental musical practices, addresses collective teaching of the trombone in Brazil and examines the trombone from three perspectives: historical, educational and that of musical performance. Although the topic is not new, the project offers a reflection, on the trombone and how it is taught, unexplored mainly due to the repertoire selected for this study. Indeed, to our knowledge, written musical arrangements of the Brazilian popular repertoire have, until now, not been undertaken with a view both toward public performance as well as with pedagogical aims. The chosen pieces were selected because of their content, which presents a musical vocabulary related to the regional cultures of four of the five geographic regions of Brazil: the Northeast, the Midwest, the Southwest and the South. During the course of this project, the selected pieces were arranged such that they could serve as pedagogical tools for trombone training in the context of Brazilian music. The arrangements were designed for small ensembles, in which the trombone often plays the role of soloist. Thus, beyond the concepts and techniques gained through traditional training, performing the arrangements gave the doctoral student and soloist the opportunity to present, through the language of Brazilian popular music improvisation, the outcomes of processes developed over the past two years. Scores are appended to the text of the thesis, in order to illustrate certain remarks and with the goal of supporting future research in this area. The thesis is divided into four chapters, which, although presented separately, are closely related. The first chapter provides an overview of the history of the instrument through the five centuries of its existence. The second chapter focuses on the history of Brazilian music and on the presence of the trombone in Brazil. The third chapter begins with an overview of the artistic and musical education in Brazil in the twentieth and twenty-first centuries, then addresses the situation of teaching the trombone in Brazil, ultimately leading to a proposal to promote learning the trombone in the context of collective music education. Finally, the fourth chapter looks back at the musical experiences of the first part of this project, as an account of instrumental music practice, establishing links and following lines of thought with the perspective of teaching and learning the trombone.
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De, Oliveira Alves Rui Pedro. "The trombone in Portugal before 1850." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/16353.

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This thesis examines the use of the trombone in Portugal between the first references to its use in the early sixteenth century and the mid nineteenth century. It is primarily based on archival research and supplemented by literary and iconographical references. This material is presented in calendar form in Volume II as Appendix 1. Volume I consists of a series of chapters that analyse and contextualise material from the Calendar. For the earlier period the thesis focuses on the use of the trombone in royal service, and in doing so provides a detailed survey of the Portuguese royal shawm band. The use of the trombone outwith royal service it is also examined. Issues relating to terminology and instrument making in Portugal are discussed. By examining sixteenth century iconographical sources with links to Portugal, this study addresses questions concerning aspects of trombone technique that have not previously been considered and have implication elsewhere in Europe. It considers the decline of the trombone during the second half of the seventeenth century and its resurgence in the later years of the eighteenth century. It identifies the earliest orchestral repertoire containing trombones that emerges in Portugal during the last decade of the eighteenth century, as well as the first trombone players of the beginning of the nineteenth century in military bands and orchestras in Lisbon. Finally, the thesis considers the class of brass instruments of the Royal Conservatoire of Lisbon and its professors, and examines the earliest surviving trombone methods in Portugal, which introduce aspects of performance practice that are not mentioned in other contemporary sources.
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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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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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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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Callison, Hugh A. "Nineteenth-century orchestral trombone playing in the United States." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/474196.

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The nineteenth century was a time of musical and cultural growth in the United States. Six of the major orchestras which exist today were established during this time. From the birth of the New York Philharmonic in 1842 through the founding of the Philadelphia Orchestra in 1900, audiences that valued orchestral music provided an impetus for professional orchestral development.A comprehensive review of the events leading up to the establishment of the New York Philharmonic, Boston Symphony, Chicago Symphony, Cincinnati Symphony, and Philadelphia Orchestras provides a basis for understanding the nature of professional orchestral trombone playing in the United States before 1900. It was found that orchestras were established in a common manner though growth was often retarded by social and economic factors. The Civil War, especially, was an event which momentarily hindered the growth of American symphony orchestras.Biographical data about the orchestral trombone players of the nineteenth century is very incomplete in the standard texts for American music history. A registry of orchestral trombonists in the United States during this period identifies 65 trombone players who were active in major symphony orchestras. An examination of the lives of some of the better-known orchestral trombonists shows that most of these musicians immigrated from Germany. The largest number of these musicians seem to have immigrated during a period from about 1870 to 1900. These capable musicians were leaders in the development of orchestras whose personal performance was reported to be of high quality. Especially influential was Frederick Lesch, a trombonist in the Theodore Thomas Orchestra and the New Philharmonic, who served as a principal player, bass trombonist, and soloist. His performance of Ferdinand David's Concertino for Trombone and orchestra is a landmark in the growth of orchestral trombone playing.A review of literature which includes a listing of all pieces performed by major orchestras during the nineteenth century establishes the repertoire of the orchestral trombonist of the period. Through analysis of this repertoire, the technical requirements for orchestral trombone playing are established. Technique, pitch range, and dynamic range were areas where the greatest demands were made upon the players. The orchestral trombonists of the nineteenth century were indeed pioneers who set the stage for today's orchestral trombone players.
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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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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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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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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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Books on the topic "Trombone – Histoire"

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Loewy, Steven. The trombone masters. Berkeley, Calif: Berkeley Hills, 2003.

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Travels with my trombone. Hammersmith, London: HarperCollins Publishers, 1992.

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A history of the trombone. Lanham, Md: Scarecrow Press, 2010.

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The trombone: Its history and music, 1697-1811. New York: Gordon and Breach, 1988.

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5

Lumsden, Alan. The sound of the sackbut: A lecture on the history of the trombone. Edinburgh: Edinburgh University Collection of Historic Musical Instruments, 1988.

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6

The trombone in the Renaissance: A history in pictures and documents. Hilldale, NY: Pendragon Press, 2011.

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7

Leonard, Charlotte Anne. The role of the trombone and its 'Affekt' in the Lutheran church music of seventeenth-century Saxony and Thuringia. Durham, NC: Department of Music, Duke University, 1997.

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8

Shukman, Henry. Travels with my trombone: A Caribbean journey. New York: Crown Publishers, 1993.

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9

Selbständige Instrumentalwerke mit Posaune in Oberitalien von 1590 bis 1650: Ein Beitrag zur Frühgeschichte der Instrumentalsonate. Tutzing: H. Schneider, 1985.

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10

Hollanda, Heloísa Buarque de. Asdrúbal Trouxe o Trombone: Memórias de uma trupe solitária de comediantes que abalou os anos 70. [Rio de Janeiro]: Aeroplano, 2004.

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Book chapters on the topic "Trombone – Histoire"

1

Morrissette, Noelle. "“Symbols from Within”: Charting the Nation’s Regions in James Weldon Johnson’s God’s Trombones." In A History of the Harlem Renaissance, 233–51. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108656313.014.

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