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Dissertations / Theses on the topic 'Trombone music (Jazz)'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Gendrich, Julia M. "Teaching and learning jazz trombone." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054757697.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains x, 182 p. Includes bibliographical references (p. 174-182). Available online via OhioLINK's ETD Center
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2

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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3

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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4

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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5

Hardester, Bryan Matthew. "An analysis and compositional application of trombonist John Allred's improvisational style." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4852.

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6

Seybert, Austin. "The versatile trombonist: a curriculum based model for improving audiation skills for the 21st century trombonist." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7030.

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The original focus of this research paper was to ask the question, “Why are there so few versatile trombonists?” The research suggested that there were curriculum problems in higher education associated with the general lack of performance versatility amongst trombonists. In 2014 the Task Force for the Undergraduate Music Major (TFUMM) determined that the undergraduate curriculum was lacking improvisation and creativity. One of the core musical skills that is essential in improvising is audiation. After determining that audiation is one of the keys to performance versatility, I researched jazz pedagogy and how this area of higher education includes and utilizes audiation and improvisation in curriculum. I concluded that traditional conservatory-style pedagogy is lacking improvisation and audiation in its curriculum because of the bias towards the European music tradition and the institutional treatment of jazz as a legitimate art form that is not equal to the European music tradition.To address the issue of performance versatility amongst trombonists, I created the “Modern Trombonist Curriculum” in 2016. This was my first attempt to address undergraduate curriculum by exposing students to a three-studio model, literature versatility, and utilizing audiation as the foundation of their learning. I sent out this curriculum to ten educators and performers for critique and to provide their thoughts on the current landscape of performance versatility, audiation, and my curriculum. After the interviews and the insight of my dissertation committee, I created a new curriculum titled “The Versatile Trombonist” to address the constraints of time, colleague involvement, student engagement, mental health, fiscal concerns, and other issues that I did not originally consider. Although I plan to continually modify and adjust this curriculum, this current version can be used as a benchmark for future educators that desire to include audiation and performance versatility in their current or future trombone studios.
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7

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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8

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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9

Bogle, James Michael. "Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2479/.

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Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
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10

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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11

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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12

Åström, Johan. "Examensarbete Johan Åström." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1892.

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13

Adami, Hampus. "En improvisatorisk jämförelse." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3104.

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In this essay I describe the similarities and differences between my main instrument, trombone, and my secondary instrument, baritone horn. The question I asked myself in the beginning wasdealing with what effects these instruments may or may not have onmyself in an improvisational context.In order to bring the project to a practical and musical setting aconcert was to be held. Because of this a lot of time was spent composing music with the two instruments in mind. Different ways of composing used aredescribed later in the essay.For example,only using pen and paper as well as the computer program Sibelius.The compositions were also divided between the two instruments. Some tunes were using trombone and others baritone horn. The reasoning behind this is also elaborated on. In order to make the comparison as fair as possible a lot of time was spent practicing thesecondary instrument. This was because of the needto eliminate the element offaultytechnique as much as possible.The last part of the essay reflectsupon different aspects that could have been improved.Such as planning the rehearsals, which got prioritized pretty late in the process and ended up leavingless combined rehearsaltimethan what was initiallyplanned. There isalsoa return to the question asked in the beginning.Explainingwhat differences and similarities wasfound. Also discussingthe effects that the different instruments had when playing themand why that may be. These effects revolved partly around sound quality but also how theimprovisational ways slightly changed between the instruments.
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14

Darelid, Agnes. "Att komponera - ur en trombonists perspektiv." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3748.

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In my bachelor project I have been working with composing and arranging in a way that is advantageous for the music and for myself as a trombonist and musician. This paper is describing my view on how the trombone role often takes shape, and the aspects and problems that I have experienced from it. I have reflected on how I need to prepare myself to feel comfortable with my role in my own compositions. I have described the compositions in detail and how they are arranged, to show how I have worked on varying the different roles in the ensemble, primarily the trombone role. I arranged for different sets of ensembles, to examine how that would affect both the music and my role as a trombonist. The graduation concert for this project could not take place due to the circumstances of COVID-19, but is postponed to the fall 2020.

Medverkande musiker:

Erik Tengholm - trumpet

Björn Bäckström - tenorsaxofon

Ima Baeza Bilgin - piano

Susanna Risberg - gitarr

Uno Dvärby - kontrabas

Magnus Jonasson - trummor

Cosima Lamberth - sång

Johan Tengholm - kontrabas

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15

Tunevi, Filip. "Att skriva ny musik för traditionell popblåssektion." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2458.

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16

Junestav, Hannes. "Dramaturgiska förlopp inom jazzmusik." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3019.

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This study set out to explore different ways to structure the dramaturgy within jazz music, using different levels of musical intensity over time. The author claims that there is a specific model, or method, which is used quite commonly in many types of jazz music, as well as in other genres. This model can be described as the level of intensity starting at a relatively low point, then increasing until it reaches a high point near the end of a certain timeframe, to finally round off with a quick downturn of the intensity level. For example, in jazz music this model could often be applied to a single solo, or an entire tune. The objective for this project was to see if it would be possible to find other such models for the dramaturgic structure, and to explore how these could possibly be applied.    The process of this study, was to first theorize a set of ideas for alternatives to the model described above. These ideas were then tested in a context, with the musicians from the author’s jazz quartet, which also was the band performing at the author’s graduation concert. After analyzing recordings of the ideas that were tested by the jazz quartet, the author extracted a few methods and principles out of them. He used what he came up with in this phase, as integral components when composing new musical material to perform with his quartet at the graduation concert.    There were some difficulties in drawing conclusions from the results of this study, due to its exploring nature and the vastness of the subject. Despite that, clear signs of potential regarding some of the alternative models for dramaturgic structure was shown. Arguments were made that the study produced some useful results within the scope of survey.
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17

"A Study and Analysis of Trombonist Andy Martin's Improvisations: Thematic Hooks as a Teaching/Learning Tool." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.20834.

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abstract: This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
Dissertation/Thesis
D.M.A. Music 2013
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18

"Tony Baker & Alex Iles: Interviews with Two Trombonists who Excel as Performers and Soloists in Classical and Jazz settings." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14708.

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abstract: The ability of musicians to perform well in multiple musical styles is increasingly common and necessary. This paper profiles two trombonists who have gone well beyond the ability to function in multiple genres, and are instead considered significant artists. Tony Baker and Alex Iles were chosen to be profiled for this project because both have achieved recognition as solo artists in the genres of classical music and jazz and have performed on international stages as soloists. They also have significant ensemble experience in both classical and jazz settings and are active teachers as well. Both hold-high profile positions that have helped grow their reputations as performers: Mr. Baker as a professor at one of the largest music schools in the United States, the University of North Texas, and Mr. Iles as a highly in-demand freelance musician in Los Angeles. This paper presents interviews with both trombonists that investigate their development as musicians and soloists in both classical music and jazz. They are asked to describe the benefits and challenges of performing at a high level in both styles, and how these have affected their musical voices. Common traits found in their responses are examined, and recommendations are created for musicians seeking stylistic versatility.
Dissertation/Thesis
D.M.A. Music 2012
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19

"Transcribing Al Grey: A Legacy Defined by Thirteen Improvisations." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14275.

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abstract: The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.
Dissertation/Thesis
Video File of Al Grey's Accompaniment to Joe Williams on "It's a Low Down Dirty Shame" from Astaire Time (1960)
Video File of Al Grey's Solo on Okay with Jay from Sitting In with Buddy Rich (1986)
D.M.A. Music 2011
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20

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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