The input impedance of a brass musical instrument is a good representation of its resonance characteristics. Methods of calculating input impedance for a known instrument shape, or bore-profile, are reviewed, and an extension to existing theory for bent waveguides is given. These input impedance methods form the basis for consideration of the inverse problem; to find a bore-profile with given impedance characteristics. Such problems can be formulated as bore reconstruction - - finding an unknown bore from its impedance, and performance optimisation - - altering certain characteristics of a known bore. The inverse problems solved by means of optimisation, using either genetic algorithms or the Rosenbrock direct-search method. A number of new techniques are used to improve convergence speed by minimising both the size of the search space and the number of design variables. These techniques are incorporated into an elegant object-oriented instrument representation, allowing convenient and flexible problem definition, and forming the basis of an integrated application in C++.

This work is a study of trombone techniques and how they have developed over the course of the twentieth century. The focal point of the study is the extension and expansion of the available performance vocabulary for trombone, using a series of case studies, scores and existing research. The expansion of techniques can be particularly identified by studying some of the most prominent performers and composers as well as the changing role of the trombone in the context of ensemble performance and some of the most prominent works that changed the role of the trombone for its future use through to the twenty first century. Included in this study is an overview of the change of the trombone due to the improvement of manufacture and addition of the larger bore and thumb valve and how these developments affected technique. The work of performers and composers Arthur Pryor, Tommy Dorsey, Luciano Berio, Christian Lindberg and Jan Sandstrom is looked at in more detail to establish their role in the development of trombone techniques. Important developments in technique in this study include the use of voice, mutes, theatricals, electronics, microtones and early twentieth century developments such as technical virtuosity and the singing style legato.

This thesis examines the generation of musical sounds in brass wind-instruments. The acoustic behaviour of the instrument is first studied using the trombone and trumpet as examples. The acoustic input impedance and pressure transfer function are measured using a computer controlled, stepped sine wave technique, and these parameters are related to sound propagation in the instrument. Special attention is given to the effect of the mouthpiece. The relationship between the two measured parameters is discussed, which suggests a method of predicting some of the features of the pressure transfer function from the input impedance and an assumed radiation impedance at the bell. The input and transfer responses of an instrument to an impulse of velocity or pressure in the mouthpiece are derived from the frequency - domain data and these results correlated with the instrument's geometry. After discussion of the parameters of the instrument and player which are of importance in their interaction, particularly the behaviour of the lips when forced by the mouthpiece pressure, the literature on regeneration in wind-instruments and the speech source is reviewed. This leads to the development of a theory predicting the conditions under which a blown note will be sustained, and the harmonic structure of such a note. The theory is tested by measuring the intonation and internal pressure waveforms for a wide variety of notes blown on the trombone. The internal impedance of the pressure source from the lungs is deduced from measurements of alternating pressures in the mouth and mouthpiece and shown to have important consequences. A separate experiment investigates some of the parameters of the lip dynamics by simultaneous measurement of the pressure and velocity in the throat of a mouthpiece while various notes are being played.

Drawing upon information learned from the Institution Focused Study, Critical Influences Affecting the Contemporary Brass Playing Community is the result of a detailed enquiry into the learning of brass instruments. The thesis begins by contextualising brass learning within the historical and sociological setting of the British Brass Band movement and considers factors which have contributed towards contemporary performance values. Intending to identify and investigate the factors which best anticipate successful brass teaching and learning, the thesis describes two main areas of research which were conducted between 2007 and 2009. The first of these focused upon a detailed questionnaire survey of the brass playing community within a secondary school in the North of England which has a highly successful brass tradition. The second area of research profiled, through a questionnaire and on-line interview forum, twenty four respondents from two championship section brass bands in contrasting areas of the United Kingdom. Using hypothesis drawn from biographical perceptions of successful learning and teaching, the thesis puts forward the notion that previously held concepts need updating within the context of contemporary lifestyles. These indicate that too much brass teaching and learning is focused upon the acquisition of a narrow range of musical skills and that the wider issue of music education for life is being neglected. The thesis concludes with the recommendation that if brass instruments are to retain their relevance and appeal to today's learners, brass teaching should take into account lessons learned from the wider world of educational research and initiative, using the 'TLRP ERSe Principles into practice' and the 2009 National Strategy 'Learning how to Learn' as examples of current thinking into the nature of learning.

What are the next steps to continue the growth and appreciation of the euphonium as a solo instrument? The instrument now occupies a prestigious role in the brass band and its influence in the wind band continues to rise. Yet, in the orchestral realm, it continues to not gain traction. This DMA portfolio contains some of the most substantial works and projects that aim to propel the euphonium into the coveted orchestral sphere. By elevating the instrument to the solo role with the symphony orchestra, the euphonium gains credibility and greater respect in a new area of performance. The orchestral realm has remained mostly untouched for the euphonium save a few choice moments in The Planets by Gustav Holst and Don Quixote and Ein Heldenleben by Richard Strauss. The history of the instrument and its limited repertoire provide an insight into why the projects contained in this portfolio represent groundbreaking endeavors. There is an undeniably strong dedication to expanding the role of the euphonium as a viable solo instrument with symphony orchestra. In this path, I produced two commercially available recordings that feature a world class orchestra, the New Zealand Symphony Orchestra, with a repertoire encompassing wonderful transcriptions, primarily made by the writer and major new commissions. Another priority of substantiating the euphonium as a soloist involves presenting the instrument in a variety of settings and repertoire. This has been accomplished by placing the commercial recordings on different labels, Naxos and MSR Classics, as well as presenting a wide range of repertoire. Featuring all original compositions for the instrument connects with one area of listeners with the Majestic Journey recording while an array of instrumental transcriptions yields inroads with another portion of audiences on the Taking Flight recording. I commissioned two new concerti by Allen Feinstein and Tim Jansa. Both are written in a strong tonal language with great programmatic features to further add notoriety. The final project, The Operatic Euphonium, includes a variety of vocal and operatic transcriptions to share the voice of the euphonium with another audience segment. The euphonium now has the opportunity to be experienced and shared with many different avenues within the classical music genre. The primary objective of these projects is to not only promote the euphonium, but also to serve as reference materials for future students and as a guide to help create more opportunities for the instrument. This will be accomplished by the creation of reference recordings, arrangements for euphonium and orchestra, and piano reductions of these works.

This study is an ethnomusicological analysis of Scottish competition bagpiping, examining three fundamental aspects of performance: sound aesthetics, performance aesthetics and the modal complex of the core repertoire. Through a mixture of discussions, modal analysis and reflections upon performance, it deconstructs the music of the 2/4 competition pipe march and the aesthetics surrounding competition performance. Focussing on a small number of the world's leading Highland bagpipers, this research demonstrates how overall sound combined with the individual choices about repertoire and how to play it, results in the maintenance of individual identity. In chapter three, analysis of the ‘modal complex', comprising pitch sets, hierarchies, phrasing-structure, the double-tonic, structural tones, melodic motifs and rhythm-contour motifs reveal the characteristics of various modes in the 2/4 competition pipe march. As an insider of this music-culture, I offer a definition of mode based upon motivic content rather than pitch set. The modal complex is framed by an understanding of how pipers themselves think about their competitive tradition. Understanding the concepts presented in this thesis provides an original and holistic picture of how Scottish bagpipe competition performance sounds the way it does.