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Relevant bibliographies by topics / Trombone solos

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Academic literature on the topic 'Trombone solos'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Trombone solos"

1

Parker, Craig B. "Trombone Solos." American Music 4, no. 4 (1986): 480. http://dx.doi.org/10.2307/3052236.

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Cage, John. "Ryoanji: Solos for Oboe, Flute, Contrabass, Voice, Trombone With Percussion or Orchestral Obbligato (1983–85)." PAJ: A Journal of Performance and Art 31, no. 3 (September 2009): 57–64. http://dx.doi.org/10.1162/pajj.2009.31.3.58.

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Dissertations / Theses on the topic "Trombone solos"

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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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2

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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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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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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7

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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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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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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Books on the topic "Trombone solos"

1

Brass, Canadian, ed. The Canadian Brass book of intermediate trombone solos. Milwaukee, WI: Hal Leonard, 1992.

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2

Buss, Howard J. Trombone concerto. Lakeland, FL: Brixton Publications, 1985.

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3

Schöck, Ralf F. Solo-Posaune und Blasorchester: Verzeichnis von über 750 Solowerken für eine oder mehrere Posaunen und Blasorchester. Wien: Musikverlag J. Kliment, 1999.

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Zwilich, Ellen Taaffe. Concerto for trombone and orchestra. Bryn Mawr, Pa: Merion Music, 1990.

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Hamilton, Iain. Spirits of the air: For solo bass trombone. Bryn Mawr, Pa: T. Presser, 1990.

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Schuller, Gunther. Eine kleine Posaunenmusik: For trombone and wind ensemble. New York: Associated Music Publishers, 1985.

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1912-, Hoisel Alberto, ed. Solo de trombone: Ditos & feitos de Alberto Hoisel. Ilhéus, Bahia, Brasil: Editus, Editora da UESC, 2001.

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Zwilich, Ellen Taaffe. Concerto for bass trombone, strings, timpani, and cymbals. Bryn Mawr, Pa: Merion Music, 1993.

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9

Lemke, Jeffrey Jon. French tenor trombone solo literature and pedagogy since 1836. Ann Arbor, Michigan: University Microfilms International, 1985.

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10

Maxwell, Karen A. A guide to solo Canadian trombone literature available through the Canadian Music Centre. Edited by Shand Patricia Martin. Toronto, Ont: Canadian Music Centre, 1985.

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Book chapters on the topic "Trombone solos"

1

Lima, Daniel Victor Silva de Freitas. "VINTE E CINCO PEÇAS DE JOSÉ URSICINO DA SILVA (MAESTRO DUDA) TRANSCRITAS E ADAPTADAS PARA TROMBONE SOLO E PIANO." In Humanidades, Cultura e Arte, 267–78. Atena Editora, 2019. http://dx.doi.org/10.22533/at.ed.53619111125.

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