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The purposes of this study are to identify and describe the function and control of facial muscles as related to sound production on brasswind instruments, to explore electromyographic theory and techniques with particular regard to the function and control of facial muscles, to identify basic theories of embouchure among brasswind teachers and performers, to develop a theory of brasswind embouchure based upon the preceding factors, and to propose recommendations with regard to brasswind pedagogy. Existing theories of embouchure were investigated by reviewing the extensive brasswind pedagogical literature, and by interviewing teachers representing two widely differing views. Electromyographic kinesiology of facial muscles was investigated as follows: a description of facial muscles was formulated by collating anatomy books; related electromyographic literature was reviewed; eloctromyographic recordings of facial muscled during, the performance of various facial muscle tasks and during brasswind performance were made using indwelling fine-wire electrodes. The following fundamental questions were raised: (1) What are the elements of brasswind embouchure, and what is the effect of each upon performance? (2) Is there a single embouchure mode which may be considered most efficient, and if so, what facial muscles are involved, and how may they be trained?

The purpose of this thesis is to bring to light some of the music written for, or especially adaptable to, brass ensembles before the close of the eighteenth century. This study must concern itself with the music which has been preserved and is available, and with such music as can be played on modern instruments. It must be stated that some of the music mentioned herein was not written specifically for brass instruments, but the style and general character of the music make it adaptable for a brass instrumentation.

Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

Mainly, the purpose of this work is to give the brass instrument player a more thorough understanding of how to improve the many factors which combine to make up his technique as a whole; also, to give the brass instrument player a more thorough understanding of the construction and history of his instrument, as well as a list of books which can be useful in developing specific phases of brass instrument playing. In other words, this book is intended to be a help to all brass instrument players who want to learn more about their instrument as well as to improve on it.

<p>In this survey I have been trying to find out which factors influence the students’ choice of instrument. I hope to, through the results, gain knowledge about how to reach interested students in my future work as a trombone educator.</p><p>I have let 15 students that have played trombone in the County Music Academy one to three years, answer my inquiry concerning their choice of instrument. The students’ parents were also asked to give an explanation to what they think made their child play the trombone and whether they tried to influence their child in the choice of instrument. The answers show clearly that these parents have not influenced their children’s choice of instrument and that the impression you and I as a teacher give during the first session seems to be of great importance.</p>

In this survey I have been trying to find out which factors influence the students’ choice of instrument. I hope to, through the results, gain knowledge about how to reach interested students in my future work as a trombone educator. I have let 15 students that have played trombone in the County Music Academy one to three years, answer my inquiry concerning their choice of instrument. The students’ parents were also asked to give an explanation to what they think made their child play the trombone and whether they tried to influence their child in the choice of instrument. The answers show clearly that these parents have not influenced their children’s choice of instrument and that the impression you and I as a teacher give during the first session seems to be of great importance.

This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire. / School of Music

The inert gas ion bombardment of solid surfaces has found many uses in the field of analytical chemistry. In one method of spectrochemical analysis, inert gas ion bombardment in a glow discharge is used to produce an atomic vapor, representative of the sample bulk, which is analyzed using atomic absorption techniques. Gas jets directed at the sample surface during the discharge increase the removal rate of sample material from the surface. Such bombardment of solid surfaces results in changes to the surface which are visually evident in the formation of craters and surface deposits. This thesis was designed to gain a better understanding of the changes in a brass surface caused by jet-enhanced sputtering. Electron spectroscopy for chemical analysis (ESCA) is used to study selected regions of the surface. Changes in chemical composition were observed as successive atomic layers were removed from the sample. The results of this investigation indicate that the effects of ion bombardment can be explained in terms of the selective sputtering of one bulk component over another. The surfaces of the sputtered craters were found to be depleted of the higher sputtering yield component, Zn, when compared to the bulk composition. In a deposit, the component with the highest sputtering yield was found to be more concentrated in layers closest to the bulk material. The component with the lowest sputtering yield was found at relatively higher concentrations nearest the deposit surface. The component with the higher sputtering yield is selectively sputtered first during the glow discharge, and consequently is deposited with a higher concentration closest to the bulk, the converse being true for the lowest sputtering yield component. / Graduation date: 1993

abstract: Performances of three prominent, full-time brass chamber ensembles (the Canadian Brass, Mnozil Brass, and Trompettes de Lyon), are studied for their inclusion of entertainment outside the bounds of traditional music performance. The various additions include acting, choreography, novel changes in instrumentation, props, technical exhibitions, audience interaction, and inherently humorous arrangements. These are identified, categorized, and analyzed for frequency of use. Representative scenes from each ensemble are compared for similarities with the intent of establishing general rules for the usage of each non-traditional element. Differences in overall show structure, compared to that of traditional chamber ensembles, are also discussed. In a separate component of this project, the author wrote an original show based on the above research, and performed it with the Grand Valley State University Faculty Brass Quintet. The process of creation and observations of rehearsal and performance settings are included in this document to guide the efforts of other prospective show-writers. / Dissertation/Thesis / Doctoral Dissertation Music 2017