<p>Trumpet repertoire listings currently available to the public are often unsuitable for music instructors as means of adequately selecting repertoire for their students. This thesis will first discuss shortcomings of current trumpet repertoire lists and how a new listing would better serve the purpose of selecting new and appropriate works. A repertoire database design is presented with its many features, both musical and bibliographical. Further, technical considerations and issues concerning the implementation of such a database are discussed.</p> <p> Works for trumpet by Canadian Prairie composers was chosen as a body of repertoire to be cataloged in the database, as a means of presenting a prototype and therefore of limiting the number of initial database entries. Listing only works accessible in libraries and other public holdings warrants that pieces will be available for performance by the database users. </p> <p> As the application of the proposed database to this specific body of repertoire demonstrates, the database will be helpful to trumpet instructors seeking repertoire for students, as well as professionals wishing to create varied programs for performances and recordings, which include Canadian Prairie trumpet repertoire.</p>

<p>Trumpet repertoire listings currently available to the public are often unsuitable for music instructors as means of adequately selecting repertoire for their students. This thesis will first discuss shortcomings of current trumpet repertoire lists and how a new listing would better serve the purpose of selecting new and appropriate works. A repertoire database design is presented with its many features, both musical and bibliographical. Further, technical considerations and issues concerning the implementation of such a database are discussed.</p> <p> Works for trumpet by Canadian Prairie composers was chosen as a body of repertoire to be cataloged in the database, as a means of presenting a prototype and therefore of limiting the number of initial database entries. Listing only works accessible in libraries and other public holdings warrants that pieces will be available for performance by the database users. </p> <p> As the application of the proposed database to this specific body of repertoire demonstrates, the database will be helpful to trumpet instructors seeking repertoire for students, as well as professionals wishing to create varied programs for performances and recordings, which include Canadian Prairie trumpet repertoire.</p>

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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.

In today's rapidly changing performing arts market, trumpet players are required to be more versatile than ever. Trumpet performing jobs are diversifying and for a trumpeter, employment often requires the multi-faceted skill set that includes the ability to perform in all styles and settings ranging from jazz to classical, solo to large ensemble and brass quintet. As the demand for the brass quintet medium has grown, the study of chamber music repertoire has also become a common requirement in collegiate music programs. However, coaching in chamber music is limited, sometimes to as little as one hour per week. This coaching time is generally in the format of a single coach instructing the full chamber group, and therefore one-on-one instruction/attention is limited or nonexistent, leaving the onus of learning on the students, for whom these collegiate chamber music ensembles are their first exposure to the medium. While students have ample access to concentrated instruction for orchestral, band, and opera excerpts through the multitude of existing excerpt books, such a resource for trumpet players learning brass quintet repertoire does not yet exist. The purpose of this project is to create a succinct guide to the performance of the trumpet parts of standard brass quintet repertoire.

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