The editor's thesis (M.M.)--University of Michigan, 1962. / Acc. arr. for piano. Bibliography: p. 12. Also issued in print.

The editor's thesis (M.M.)--University of Michigan, 1962. / Acc. arr. for piano. eContent provider-neutral record in process. Description based on print version record. Bibliography: p. 12.

Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2. / submitted by Tang Pan-hang Benny. / Thesis submitted in: December 1997. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract --- p.i / 摘要 --- p.ii / Acknowledgment --- p.iii / Declaration --- p.iv / Introduction --- p.1 / Trombone Concerto (first movement) --- p.2 / Programme notes --- p.3 / Remarks --- p.5 / Instrumentation --- p.6 / Seating Plan --- p.7 / Scores --- p.8 / Post-Zero 零後 --- p.56 / Introduction --- p.57 / Programme notes --- p.57 / Performance direction --- p.61 / Instrumentation --- p.62 / Seating plan --- p.62 / Scores --- p.63 / "Trio for Flute, Violin and Cello No.2" --- p.144 / Programme notes --- p.145 / Performance direction --- p.145 / Scores --- p.146 / Biography --- p.159 / Music Works List --- p.160

The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such attention had been lacking in previous decades. Chapter 2 examines the life and musical background of the composer. Chapter 3 discusses the history surrounding the possible origin of the Concerto and its performance history. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 details the creation of an urtext edition of the Concerto. Chapter 6 concludes this document with a performer's guide to the work based on the urtext edition of the solo trombone part to create the performance edition. This performance edition of the work includes historically informed solutions to the problematic technical elements of ornaments. The final section of the chapter makes suggestions regarding the preparation and performance of a historically informed version of the Concerto for Trombone.

The three recitals consisted of performances of original twentieth century solo works for trombone with the exception of two trombone quartets, Adagio, by C. Saint-Saëns, arranged by Ken Murley, and Sonata by Daniel Speer. The lecture recital establishes the position of Kazimierz Serocki (1922-1981) as a major composer not only in Poland but in the rest of the world as well. His many works cover a wide spectrum of styles and genres. The solo trombone works, in particular, are among his most often performed works from his early neoclassic period. The lecture is also an attempt to illuminate the role of neoclassicism in Poland through a brief discussion of Polish neoclassicists, Grażyna Bacewicz and Michael Spisak, and other composers before and after World War II including Constantin Regamey and Roman Haubenstock-Ramati. An analysis of the two solo trombone works, Sonatina and Concerto, shows the technique of composition used by Serocki and the demands placed upon the performer by the music. These works were among the first in a growing list of works for solo trombone composed in response to the notable lack of large scale works of quality for solo trombone during the early twentieth century. The high quality of performance demanded by these works did much to advance the trombone as a solo instrument in the twentieth century.

Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.

This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) . Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.