Thesis (M.M.)--University of Michigan, 1963.

Thesis (M.S.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 64-65.

Thesis (Ph. D.)--University of Michigan, 1920.

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2004. / "A thesis in music history and literature." Typescript. Advisor: William Everett. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 104-108). Online version of the print edition.

This thesis investigates the transient measurement and analysis of brass musical instruments. The experimental apparatus of Deane (1986) has been substantially revised and developed to allow accurate determination of the input impulse response of instruments up to 8kHz. The inverse problem of calculating the bore of an instrument from its impulse response has been studied with good success. The bores of trumpets have been accurately determined to within 0.1mm up to the bell section where the flare is too great for the algorithm to be valid. Further developments have been made to the application of transient measurements to the manufacturing environment. The apparatus has been shown to detect valve misalignments as small as 0.25mm. A modified apparatus has been developed to allow determination of the input impedance of instruments from transient measurements. The shape of the calculated impedance curves show good agreement with measurements made in the frequency domain although absolute calibration shows errors related to truncation of the transient responses. The internal field of a French Horn bell is studied with the results presented in a series of space-time and space-frequency diagrams. This technique allows detailed examination of the shape of an impulse travelling through the horn. Finally, the relationships between impedance, impulse response and bore have been analysed to form the foundations of a Computer Aided Design technique for brass instruments.

I have chosen to be assessed as an interpreter and conductor of New Music for British Brass Band. This critical evaluation represents a summary of my work on the four required projects of the DMA course, in which I hope to demonstrate a high level of creative interpretation. This evaluation will also demonstrate my ability to show original insights into certain musical works and formulate sound critical judgments in order to elicit performances which have been critically acclaimed by my peers within this chosen medium. Project One aims to demonstrate a capacity for producing perceptive and imaginative musical interpretations in preparing and conducting the first commercial recording of brass music of Arthur Butterworth (DOYCD130). As will be argued elsewhere, Butterworth is a nationally recognized figure with a wide range of musical publications, and this recording includes four world premiere recordings of the composer's work and a new commission, Sinfonia Concertante. Project Two is a further CD recording entitled The Brass Music of Michael Ball 1 (DOYCD135). This presents a programme of highly crafted pieces of the composer's wide style and approach. There are five world premiere recordings which offer new insights into the composer's work as well as new interpretations of his work in fine performances. This project also includes an examination of a new work, A Cambrian Suite, jointly commissioned by the Black Dyke Band and the Brass Band Heritage Trust, first performed at the Royal Concert Hall at the RNCM on the 18th February as part of the Festival of Brass 2002. Project Three consists of two live recordings, produced digitally, and stored on single Compact Discs. The two works Sinfonia Concertante Arthur Butterworth and Atlantic Philip Wilby were premiered respectively at the Harrogate International Music Festival, July 28 th 2001 and The Festival of Brass January 18th 2002. Both these composers enjoy high status as nationally recognised composers, and their premiere performances offer significant first insights into the works in question. I would argue that this demonstrates a capacity for eliciting imaginative musical interpretations from a highly talented group of musicians. During my DMA registration I have performed ten world premieres: Masque, Danceries, and Alchymist's Journal by Kenneth Hesketh., Sinfonia Concertante Opus 111 by Arthur Butterworth, Atlantic and Concerto 1945 by Philip Wilby, Call of the Cossacks by Peter Graham, The Sword and the Crown by Edward Gregson, A Cambrian Suite by Michael Ball and Trombone Concerto by Martin Ellerby. This range of performances displays my commitment to developing the repertoire of the Brass Band Movement. I have also undertaken eight studio recording projects, The Eternal Quest QPRL 21 ID, The Essential Dyke Vol. Ill DOYCD121, Spectacular Classics Vol. IIOBR876, The Music of Arthur Butterworth DOYCD130, The Music of Michael Ball DOYCD135, Black Dyke Plays Verdi OBR883, The Heaton Collection SP&S100, Call of the Cossacks DOYCDI38. These projects represent an endeavour to unveil and demonstrate the level of expertise and flexibility available in the current British Brass Band movement, which draws its influences from sources as diverse as Classical, Contemporary, Popular, and World Musics. Project Four A public performance will be given by the Black Dyke Band conducted by myself as part of the National Brass Band Championship of Great Britain, in the Royal Albert Hall on 19 th October 2002. This will give the examiners the opportunity to judge my abilities for themselves.

Jet travel and the widespread availability of recordings are factors that have led to an increasingly homogenous sound concept in American trumpet playing; this is a stark contrast to the unique regional sounds that existed in the United States in the middle of the twentieth century. Despite the growing dissipation of these regional sound concepts from the mid-century, it is important to understand the styles and pedagogy associated with these schools. In this paper, six player/teachers are associated with specific regional playing styles: Vincent Cichowicz in Chicago, Louis Davidson in Cleveland, Armando Ghitalla in Boston, John Haynie in the Southwest, James Stamp on the West Coast, and William Vacchiano in New York City. Each of these players made a notable impact on the trumpet world through their performances, recordings, and unprecedented legacy of students. It would be difficult for many modern American trumpet players to trace their “trumpet lineage” without one of these individuals in the picture. Not only are these players an important part of the modern trumpeter’s heritage, but the vast success of their students warrants that their pedagogical methods are still relevant today. This study is unique due to this comprehensive and categorical comparison of pedagogical techniques, and this paper additionally examines the distinct sounds of each player’s regional style through the use of spectrograms. Ultimately this paper provides a myriad of teaching strategies from some of the most influential American trumpet players, which will aid trumpet teachers in negotiating the diverse needs of their students.

The primary objective of this study is to write a brass method which will give the college student a thorough foundation in articulation, tone production, intonation, and other factors involved in the playing of the trumpet, French horn, bass and trombone. This brass method will be written for college level brass classes.

No description available.

Thesis (D. Mus. Arts)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 88-92).