Thesis (D.M.A.)--University of North Texas, 2001. / For solo trombone, 4 trumpets (2 doubling flugelhorn), 4 horns, 3 trombones, euphonium and tuba. Includes analysis by composer. Includes bibliographical references.

This study identified teaching strategies of successful trombone professors for undergraduate trombone students. Participants were three professors at accredited colleges in the United States who had received international awards in the field of trombone pedagogy. A comprehensive interview instrument was administered to each participant in a multiple case studies research design. From the gathered data, a classical content analysis revealed 79 emergent themes from 375 coded passages, with 45 of the emergent themes being commonalities among the three participants. In addition to specific teaching strategies, three meta-themes emerged from an examination of these commonalities: Product Over Process, Individualized Teaching Approaches, and Raising Student Awareness of Issues. A teaching model of the three professors is presented based upon these meta-themes, and findings and implications of the research are discussed.

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The brass band and wind band had similar repertoires in the nineteenth and early twentieth centuries with marches, dances, solos, and transcriptions written prominently for both ensembles. The repertoires diverged at the beginning of the twentieth century as brass band contests commissioned new and original works and international composers began writing serious works for wind band. In the 1970s, British composer Philip Sparke succeeded in writing music for both ensembles and subsequently began to create a shared repertoire, and other composers started contributing to this repertoire. As this repertoire has proliferated, much of it has become worthy of serious study. The purpose of the current study is to find shared scoring tendencies between three transcriptions: one written by the original composer; a second transcribed by a different composer; and a third transcribed by both the original composer and a different composer. The works selected were The Year of the Dragon by Philip Sparke (transcribed by the composer), Variations for Brass Band by Ralph Vaughan Williams (transcribed by Donald Hunsberger), and Call of the Cossacks by Peter Graham (transcribed by the composer and Mick Dowrick). There were several effective instrumentation choices the works shared, including woodwind prominence in solo and lyrical passages, double reeds substituting for small brass ensembles, and high woodwinds written one or more octaves above the original. Adapting these choices, the author created a transcription of Gypsy Dream, the second movement of Call of the Cossacks. Further, these commonalities can serve as guidelines for other transcribers to arrange brass band works for wind band and expand this shared repertoire.

There exists considerable debate in the texture community about whether grain interactions are a necessary factor to explain the development of deformation textures in polycrystalline metals. Computer simulations indicate that grain interactions play a significant role, while experimental evidence shows that the material type and starting orientation are more important in the development of texture and microstructure. A balanced review of the literature on face-centered cubic metals shows that the opposing viewpoints have developed due to the lack of any complete experimental study which considers both the intrinsic (material type and starting orientation) and extrinsic (grain interaction) factors. In this study, a novel method was developed to assemble ideally orientated crystalline aggregates in 99.99\% aluminum (Al) or copper (Cu) to experimentally evaluate the effect of grain interactions on room temperature deformation texture. Ideal orientations relevant to face-centered cubic rolling textures, Cube $\{100\}\left<001\right>$, Goss $\{110\}\left<001\right>$, Brass $\{110\}\left<1\bar{1}2\right>$ and Copper $\{112\}\left<11\bar{1}\right>$ were paired in different combinations and deformed by plane strain compression to moderate strain levels of 1.0 to 1.5. Orientation dependent mechanical behavior was distinguishable from that of the neighbor-influenced behavior. In interacting crystals the constraint on the rolling direction shear strains ($\gamma_{_{XY}}, \gamma_{_{XZ}}$) was found to be most critical to show the effect of interactions via the evolution of local microstructure and microtexture. Interacting crystals with increasing deformations were observed to gradually rotate towards the S-component, $\{123\}\langle\bar{6}\bar{3}4\rangle$. Apart from the average lattice reorientations, the interacting crystals also developed strong long-range orientation gradients inside the bulk of the crystal, which were identified as accumulating misorientations across the deformation boundaries. Based on a statistical procedure using quaternions, the orientation and interaction related heterogeneous deformations were characterized by three principal component vectors and their respective eigenvalues for both the orientation and misorientation distributions. For the case of a medium stacking fault energy metal like Cu, the texture and microstructure development depends wholly on the starting orientations. Microstructural instabilities in Cu are explained through a local slip clustering process, and the possible role of grain interactions on such instabilities is proposed. In contrast, the texture and microstructure development in a high stacking fault energy metal like Al is found to be dependent on the grain interactions. In general, orientation, grain interaction and material type were found to be key factors in the development of rolling textures in face-centered cubic metals and alloys. Moreso, in the texture development not any single parameter can be held responsible, rather, the interdependency of each of the three parameters must be considered. In this frame-work polycrystalline grains can be classified into four types according to their stability and susceptibility during deformation. / Thesis (Ph.D, Mechanical and Materials Engineering) -- Queen's University, 2009-09-25 23:59:11.809

Although traditional methods of teaching brass embouchure tend to favor a more centered mouthpiece placement, individual differences in facial structure may make a centered placement inefficient for many individuals. Thirty-four test subjects (N = 34) who volunteered from a mid-sized, Midwestern university school of music, a mid-sized Midwestern high school, and professional and semiprofessional trombonists from around a Midwestern state were tested for an efficient embouchure and then photographed while playing specific pitches into a transparent plastic mouthpiece. Additionally, each subject filled out a brief survey and had various facial characteristics photographed. Statistics from this data suggest that the three basic types defined by Doug Elliott, Very High Placement Type, Medium High Placement Type, and Very Low Placement Type, are accurate. Evidence also suggested that airstream direction and the use of an embouchure motion is dependant on vertical mouthpiece placement. The angle of the airstream also changes according to the register being played. It was also determined that certain physical characteristics, most notably lip protrusion, suggested that a subject will play with a specific mouthpiece placement. / School of Music

The purpose of this study was to determine whether deep-cryogenic freezing produces a change in the timbre or playing characteristics of brass trumpets. The experimental procedure consisted of two parts: quantitative analysis and qualitative analysis. For qualitative analysis a panel of four professional trumpet players evaluated five trumpets: four were frozen and re-evaluated, and one served as the experimental control. Analysis of the harmonic spectra of tones from each instrument provided quantitative data. Since previous studies requiring the analysis of musical instrument tones have suffered from a high degree of variation among tones played by human performers, I constructed a mechanical device that could play tones on the test instruments with greater consistency than is possible with live performers.The changes observed in the qualitative and quantitative analyses are very small, and possibly contradictory. The test panel rated all of the instruments higher after they had been frozen, and any actual improvement in the playing characteristics is suspect because the control instrument received the second highest improvement of the five instruments in the study. In the quantitative analysis, I observed some slight changes in the amplitudes of some of the harmonics in the spectral graphs, but I also observed slight variations in some of the harmonics of the control instrument. Inconsistencies in the performance of the electronic equipment used in the study could account for some of the variation. The instrument that showed the most statistically significant improvements was rated significantly higher in intonation after cryogenic processing, but I was unable to measure any frequency changes in the tones the mechanical embouchure played on the test instruments.Although one may not actually be able to measure differences reported in the qualitative analysis, it is not possible to rule out any acoustical change from cryogenic freezing. In fact, in the quantitative measurements, three of the instruments showed changes greater (some positive and some negative) than the "experimental error" seen in the control instrument's measurements. Additionally, one member of the test panel is convinced that cryogenic freezing has improved his instrument significantly, but the other three trumpeters are ambivalent. / School of Music

Šiame magistro darbe nagrinėjama grojimo variniais pučiamaisiais instrumentais specifika ir pagrindiniai principai. Variniai pučiamieji nuo kitų instrumentų grupių visų pirma skiriasi tuo, kad už instrumento skleidžiamą garsą didžiąja dalimi atsakingas atlikėjo kūnas - koordinuota įvairių organų veikla. Atlikėjui tai reiškia, kad sėkmingas grojimas neišvengiamai priklauso nuo atlikėjo grojimo aparato - veido, kaklo, liežuvio raumenų, kvėpavimo organų, rankų pirštų tinkamo parengimo. Šio darbo tikslas yra nustatyti grojimui variniais pučiamaisiais instrumentais reikalingas žmogaus organų grupes ir išsiaiškinti kaip jos turi būti lavinamos, siekiant ugdyti visapusišką ir profesionalų varinių pučiamųjų instrumentų atlikėją. Siekiant išsikelto tikslo buvo atlikta grojimo variniais pučiamaisiais instrumentais metodinių priemonių, kitos teorinės ir mokomosios medžiagos analizė. Tyrime nustatyta, kad esminėmis atlikėjo grojimo aparato dalimis laikytinas taisyklingas kvėpavimas, ambušiūro raumenys, liežuvio artikuliacija ir rankų pirštų veikla. Darbe pateikiami šių dalių lavinimo pratimai ir atskleista, kad sėkmingam ir pasamoningam atlikimui būtina kasdienė praktika ir treniravimasis. Darbe pateikiami šių treniruočių pavyzdžiai. / This masters thesis is focused on specifics and main principles of playing brass instruments. Brass instruments are different from other instrument groups mainly because the main thing that is responsible for the generation of sound is not an instrument itself, but the body of the player - coordinated action of different organs of the player. This means that successful playing is inevitably dependant on the condition an preparedness of 'playing apparatus' of the player - facial, tongue, neck muscles, breathing organs, fingers etc. The aim of the thesis is to identify the main groups of body organs needed to successfully play brass, and to find out how they should be trained to prepare universal and professional brass player. In order to reach the aim, a research of brass teaching literature an other theoretical material, was conducted. Research shows that the main parts of 'playing apparatus' are: correct breathing, embouchure, tongue articulation and actions of the hand and fingers of the player. This thesis contains different training exercises. This thesis also concludes that in order to be successful the player must be subjected to daily training and practicing. The thesis also contains examples of such daily training.

The interaction of the surface of a pure metal or an alloy with the surrounding atmosphere occurs in a highly complex interfacial regime. During atmospheric corrosion this interfacial regime involves the metal surface, often covered by a naturally formed oxide layer of a few nanometers thickness; an aqueous adlayer, typically with a thickness of a few to a few tens of nanometers, and the atmosphere from which airborne particles, oxygen, and gaseous pollutants dissolve into the adlayer and influence the atmospheric corrosion process. This thesis work is mainly concerned with the initial atmospheric corrosion of zinc and brass induced by carboxylic acids (120 parts per billion of formic, acetic, or propionic acid) in laboratory air with 90% relative humidity. This model system has been chosen to mimic indoor corrosion with carboxylic acids as major corrosion stimulators. The study forms part of a broader research program with the ultimate goal to provide a computer model of the early stages of atmospheric corrosion of copper, zinc and copper-zinc alloys, induced by carboxylic acids. Particular emphasis has been given to identify and quantify the corrosion products formed and to determine their lateral distribution over the corroding surface. This has been accomplished through a multi-analytical approach in which two main techniques are infrared reflection absorption spectroscopy (IRAS) which can identify and quantify corrosion products with a relative accuracy of about 10%, and confocal Raman microspectroscopy (CRM) which can identify and resolve corrosion products with a surface lateral resolution of better than one micrometer. The corrosion products identified on pure zinc are zinc oxide (ZnO) and various forms of Zn-carboxylates. On brass, the main corrosion products identified are a cuprite (Cu2O)-like phase and various forms of Zn-carboxylates. For pure zinc and brass the formation rates of corrosion products in presence of the investigated acids depend, among others, on their deposition velocity and acid strength. The interaction of pure zinc and brass with humidified air containing carboxylic acids follows two spatially separated main pathways: a proton-induced dissolution of metal ions followed by the formation of oxides, and a carboxylate-induced dissolution followed by the deposition of metal carboxylates. When applying this multi-analytical approach, it has been possible to distinguish between anodically and cathodically active areas for brass, but not for pure zinc. Galvanic effects have been shown to play a significant role during the initial corrosion of brass.  Further evidence of the selective formation of corrosion products has been found when exploring the more complex heterogeneous surface of Galvalume, a commercial aluminum-zinc alloy coating. This material has been exposed to humidified laboratory air with additions of carbon dioxide (CO2) and sodium chloride (NaCl) and to a marine atmospheric environment. Initiated in the interdendritic zinc-rich areas, a uniform aluminum oxide (Al2O3) layer is formed. This oxide exhibits an inhibiting effect on the subsequent formation of other corrosion products, including aluminum oxyhydroxide (AlOOH), aluminum hydroxide (Al(OH)3), ZnO, zinc hydroxycarbonate and zinc hydroxychloride. / QC 20110607

xi, 265 leaves : photos., diags ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Mechanical Engineering, 1978