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Dissertations / Theses on the topic 'Trombone sonatas'

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Published: 4 June 2021
Last updated: 12 February 2022

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1

Seidel, John A. (John Allen). "The Trombone Sonatas of Richard A. Monaco." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330825/.

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This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.
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2

Skinner, Myles. "Sonatina for trombone and piano." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ30692.pdf.

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3

Cord, John T. "Francis Poulenc's Sonata for Horn, Trumpet and Trombone: A Structural Analysis Identifying Historical Significance, Form and Implications for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12104.

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4

Rego, Borges Lucas. "Carlos Guastavino’s Sonata Para Trombón O Trompa Y Piano: Analysis of Argentine Song and Formal Western Music Tradition Applied to Trombone Repertoire." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699869/.

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Very few Latin American pieces for trombone as a solo instrument have entered the canon of trombone repertoire worldwide, despite the large number of compositions in this medium. Therefore, when a major composer writes a full sonata for trombone efforts need to be made to bring these compositions to light. The Argentine composer Carlos Guastavino wrote a sonata for trombone and piano that is virtually unknown outside of Argentina, despite the composer’s importance. He is known for his artistic choice of cultivating a traditional romantic style of composition apart from the new tendencies and influences of the artistic novelties of the twentieth century. Guastavino’s artistic position is very clear in the sonata’s highly strict formal organization and Guastavino’s unique treatment of tonality and modality. He was also loyal to his own style as composer, which is ultimately an Argentine song style. He utilized the lyrical qualities of the trombone to convey the type of melodic approach that he used in his vocal works. This paper investigates the Argentine song and Western sonata conventions featured on Carlos Guastavino’s Sonata para Trombón o Trompa y Piano. The paper argues that these features represent his unique approach to musical composition in the twentieth century, thus making this sonata an important addition to the trombone repertoire.
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Babcock, Ronald D. (Ronald Dean). "A Study of Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 by Johann Joseph Fux: the Historical Significance as Works for Alto Trombone and Performance Considerations, a Lecture Recital together with Three Recitals of Selected Works by J. Albrechtsberger, R. Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278148/.

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Johann Joseph Fux's influence on the development of eighteenth-century alto trombone literature is significant. His music, when compared with that of other composers who wrote for the alto trombone before 1730, reveals a more elaborate and frequent use of the instrument. Many of Fux's compositions call for alto, tenor, or bass trombone, but his Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 are of particular interest in regard to the composer's treatment of the alto trombone. This study points out the technical demands placed on the trombonist in Fux's works as compared to such contemporary composers as Antonio Caldara and Marc'Antonio Ziani. The primary goal of this study is to substantiate the importance of Fux's role in the development of the alto trombone repertoire. Published and unpublished works by Fux that significantly incorporate the instrument have been studied and compared to compositions of his contemporaries. A thorough discussion of Sonata a Quattro and Alma Redemptoris Mater illustrates the technical aspects of his alto trombone writing. The secondary goal of this study is to create a performing edition of Sonata a Quattro and Alma Redemptoris Mater. The existing editions in Denkmaler der Tonkunst in Osterreich and Johann Joseph Fux, Samtliche Werke are less than complete. There are no individual parts for performers, and tempo indications for several movements are missing. Mistakes in the parts of Sonata a Quattro and discrepancies between the figured bass and continuo realization have been corrected for the creation of a new edition. Tempo, ornamentation, instruments, and articulation are also discussed to assist in the presentation of an historically informed performance of the Sonata a Quattro and Alma Redemptoris Mater.
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6

Nadai, Robson Alexandre de. "Sonata para trombone e piano de Almeida Prado : uma analise interpretativa." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284338.

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Orientador: Roberto Cesar Pires
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T14:44:34Z (GMT). No. of bitstreams: 1 Nadai_RobsonAlexandrede_M.pdf: 25475745 bytes, checksum: df71590de86e486da8c9f06689cfd48b (MD5) Previous issue date: 2007
Resumo: Esta dissertação de mestrado refere-se à Sonata para Trombone e Piano de Almeida Prado. Essa obra foi extraída da Sonata nº 3 para Piano solo do mesmo compositor. A peça é contextualizada através de informações obtidas com o próprio Almeida Prado, por meio de entrevista. Foram realizados dois tipos de análise: análise de material da Sonata para Trombone e Piano e análise comparativa entre a Sonata para Trombone e Piano e a Sonata nº 3 para Piano. A primeira mostra a macroestrutura da peça, os elementos que a compõem e faz uma abordagem pormenorizada de material, assim como um estudo da forma fazendo uma analogia entre a estrutura da Sonata para Trombone e Piano e a da sonata clássica, evidenciando os elementos que elas compartilham. A segunda mostra as semelhanças e diferenças entre as peças bem como uma explanação sobre o processo de permutação utilizado pelo compositor na elaboração da Sonata para Trombone e Piano. O resultado das análises mostrou que as peças são distintas apesar de utilizarem o mesmo material. A dissertação é concluída com um capítulo destinado aos trombonistas, com exercícios técnicos e sugestões para a interpretação da Sonata para Trombone e Piano
Abstract: This master's degree dissertation refers to the Sonata for Trombone and Piano by Almeida Prado. This piece was taken from Sonata no.3 for Piano solo by the same composer. The piece is contextualized through information obtained with the Almeida Prado, through interview. Two types of analysis were performed: analysis of material from Sonata for Trombone and Piano and comparative analysis between the Sonata for Trombone and Piano and the Sonata no. 3 for Piano. The first one shows the macro structures of the piece, the elements that constitute it and detailed approach of material, as well as a study of the form making an analogy between the structure of the Sonata for Trombone and Piano and the classic sonata, evidencing the elements they share. The second analysis shows the likenesses and differences between both pieces as well as an explanation about the permutation process used by the composer in the elaboration of the Sonata for Trombone and Piano. The result of the analyses showed that the pieces are distinct in spite of utilizing the same material. The dissertation is concluded with a chapter destined for trombonists, with technical exercises and suggestions for the interpretation of the Sonata for Trombone and Piano
Mestrado
Praticas Interpretativas
Mestre em Música
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7

Kopp, Marcus. "En musikalisk djupdykning." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3294.

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När jag första gången hörde Eric Ewazens sonat för trombon och piano blev jag enormt berörd. Jag fascinerades av den vackra harmoniken och tonspråket som Ewazen använder i stycket. Ungefär ett år senare bestämde jag mig för att själv ta mig an sonaten i övningsrummet och min förtjusning till stycket växte ännu mer. Jag blev också intresserad av att undersöka vad det är som gör att jag berörs så mycket av det här stycket. Jag har därför valt att i det här arbetet analysera första satsen ur Ewazens sonat för trombon och piano ur ett musikteoretiskt perspektiv. Jag har valt att analysera den första utav tre satser, då den berört mig mest. I arbetet beskriver jag inlärningsprocessen av stycket, samt de utmaningar det ställt mig inför. Jag vill även ge läsaren en kort beskrivning av vilka uttrycksmöjligheter en trombon har. Det är väsentligt då jag delvis beskriver instuderingsprocessen utifrån instrumentets möjligheter och svårigheter. I min analys har jag använt mig av kunskaper som jag fått från min nuvarande och från tidigare utbildningar. Analysen bygger till stor del på mina personliga upplevelser och skulle därför kunna tolkas annorlunda av andra analytiker. Jag har brutit ner stycket i olika beståndsdelar: teman/ motiv, harmonik och tempon/taktarter. Det jag har kommit fram till efter att ha arbetat med sonatens första sats är att Ewazen ofta överaskar lyssnaren med oväntade harmoniska kast. Detta gör musiken spännande och intressant att lyssna på.

Marcus Kopp - Trombon

Katarina Stöm-Harg - Piano

Sonata för Trombon & Piano - Eric Ewazen 

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8

Wood, Jeriad. "Master's thesis recital (trombone)." 2011. http://hdl.handle.net/2152/16586.

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9

Bowman-Choat, Mary Kathryn. "Master's thesis recital (trombone)." 2011. http://hdl.handle.net/2152/16722.

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Sonatina for trombone and piano / Kazimierz Serocki -- A la maniere de Bach / Jean-Michel Defaye -- Aria et polonaise / Joseph Jongen -- Sonata "At the end of the century" / Joseph Filas -- Night tide / Howard Buss -- Fandango / Joseph Turrin.
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10

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

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11

Brown, Joseph Andrew. "Doctoral thesis recital (trombone)." 2011. http://hdl.handle.net/2152/16112.

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Sonata a 3 / H. I. F. Biber -- Trio sonata, op. 1, no. 6 / Tomaso Albinoni -- Trois pieces / Eugene Bozza -- Rebellion / Stephen Rush -- Triangles / John Stevens -- Penny Lane; Blackbird / John Lennon-Paul McCartney.
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12

Matsuoka, Nyle Takeo. "Master's thesis recital (collaborate piano)." 2011. http://hdl.handle.net/2152/16420.

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13

Fang, Chung-Jen, and 方崇任. "The Analysis and Interpretation of 〈Sonata for Trombone and Piano〉by Eric Ewazen." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/58553288790768465826.

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14

Yu, Wen-Hui, and 游文惠. "The Analysis and Interpretation of 《Sonata for Trombone and Piano》 by Eric Ewazen." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/79483985821861938678.

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碩士
國立臺北教育大學
音樂學系碩士班
102
After the Industrial Revolution, the manufacturing technology to make instruments has gained with its expertise in progress day by day as the time goes by. The materials of making an instrument have been improved as well. Trombone can have plenty of possibility and ways to develop both in the change of volume or the display of technique. Trombone has gradually become an apple of the composer’s eyes. Yet, there is plenty of composition based on Trombone to preside at a musical band or in an orchestra these days. Eric Ewazen (b.1954) is a contemporary composer in the United States whose pieces of composition are various in types and are well-received by the general public. Eric Ewazen produced his Sonata for Trombone & Piano in 1993. The sonata has becomes one of the classical piece of music for Trombone with prominent significance. The song has been rehearsed and played on stage throughout the world. It has become one of the designated song tracks for each grand music competition. This dissertation carried out a profound study subject to Sonata for Trombone & Piano produced by Eric Ewazen. The content of this study was divided into five chapters. The first chapter was an introduction to explain the motivation and purpose of this study, the scope of study and its methodology, and a review of literature. The second chapter referred to the life of the composer and his style of creative works. The third chapter began to elaborate the music composition and give an analysis on this subject. The forth chapter is an interpretation to the music composition. The fifth chapter is the conclusion part. Hopefully, this study can help the performer to get to known the music composition and its written background as well as its structure. The performer may have a better way to interpret the music composition after reading this paper.
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15

Fang, Yi-Chun, and 方宜群. "Performance and Actual Expression─An Exploration into Paul Hindemith《Sonata for Trombone and Piano》." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/82tb8b.

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碩士
國立臺北教育大學
音樂學系碩士班
103
This paper aims to study Paul Hindemith’s Sonata für Posaune und Klavier. It contains five chapters: The first chapter is an introduction to the motivation and purposes of this research into his work, using five steps as the research method. The second chapter is an introduction to Paul Hindemith, which includes two major parts --- Paul Hindemith’s life and the background of Sonata für Posaune und Klavier. Chapter Three is to analyze the four chapters in this sonata, through style, harmony, tempo, and structure, so as to attain more profound understanding of it. Based on these analyses and the performing skills required, Chapter Four deals with the interpretation of this sonata by induction. It is hoped that the composer’s concept of this work could be more clearly expressed, and the style is better presented. The conclusion is made in Chapter Five, presenting the afterthoughts of the author of the paper. As a music educational worker, she, inspired by Hindemith’s philosophy of liberal arts, feels obliged to promote music and increase accessibility of it for everyone.
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16

"New Editions of G. P. Telemann’s Sonata in F minor TWV 41:f1 and N. A. Rimsky-Korsakov’s Concerto for Trombone." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38421.

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abstract: Nikolay Andreyevich Rimsky-Korsakov’s Concerto for Trombone and Military Band and Georg Philipp Telemann’s Sonata in F minor TWV 41:f1 are two works from contrasting periods written by well-known composers. International Music Company first published the Sonata in 1968 for trombone, edited by Allen Ostrander. Rimsky-Korsakov’s Concerto for Trombone was first published in the United States by Leeds Music Corporation in 1952, edited by Davis Shuman. Both of these compositions contain editorial concerns that detract from each composer’s original music. In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov. This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions.
Dissertation/Thesis
Doctoral Dissertation Music 2016
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