Thèse (M. Mus.) -- Université Laval, 1997. / "Si le cadre du présent mémoire ne permet évidemment pas de réaliser ce vaste projet [l'histoire de l'éducation musicale au Québec], son sujet, les origines du Conservatoire de musique du Québec, constitue néanmoins, pour la période qu'il couvre, depuis le XIXe siècle jusqu'à la fondation effective de l'institution en 1942, une trame d'une grande pertinence pour l'élaboration de cette histoire."--Introd. Bibliogr.: f. [136]-151. Publ. aussi en version électronique.

Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Accompanied by 5 recitals, recorded Apr. 7, 2003, Nov. 10, 2003, Feb. 9, 2004, Nov. 22, 2004, and Apr. 18, 2005. Includes bibliographical references (p. 26-29).

Th. Etat--Paris--Ecole des Chartes, 1996. / Liste alphabétique des professeurs de 1919 à 1939 f. 402-413. Liste des lauréats des concours de fin d'année de 1930 à 1939, et des concours pour le grand prix de Rome f. 414-471. Réunit un certain nombre de lettres f. 622-646. Bibliogr. f. 14-19. Index.

A work concerning the history of the Paris Conservatoire and music education in France. Follows the development of the horn and its correlation with the French school of horn playing. Includes biographic information on the horn professors of the Conservatoire through 1997, as well as a comprehensive list of the morceaux de concours for horn, 1795-1996.

This study was intended to acquaint trombonists with the vast amount of French solo literature and pedagogical materials available, as well as to promote an understanding of their origins and uses. The dissertation is divided into two major sections: (1) the history of the Paris Conservatory and its trombone teachers; (2) a comprehensive catalog of solos and etude materials. The Paris Conservatory, the prototype for the modern conservatory, is an important aspect of the historical overview. Specifically created at the end of the eighteenth century to raise the standards of French music, it has combined a conservative musical atmosphere, a faculty of artist-teachers, and rigorous requirements into a training program which has received international acclaim. An essential part of the Conservatory's training program are annual instrumental competitions held for each instrument. In the case of the trombone, commissioned content solos originated in 1897 with the Solo de Concert, No. 2 by Paul Vidal. Since 1897, fifty-one composers have been commissioned to write a total of fifty-eight trombone solos as contest pieces. These fifty-one composers, most of whom were themselves students at the Conservatory, are among the most noted musicians France has produced. All the trombone contest solos are listed in Chapter 4, and each solo has been graded as to degree of difficulty according to the European rating system. The first official teacher of trombone at the Conservatory was Antoine-Guillaumie Dieppo, the most celebrated French trombonist of his time. Since his tenure as a teacher at the Conservatory (1830-1871), all subsequent professors of trombone have been products of the system. France's educational program is centrally administered and trains all deserving students. National examinations administered at the end of secondary study serve as the determinant factor for the eligibility of students to higher levels of education. Instrumental music study in French public schools is sorely neglected, and often requested by educators. This literature is monumental, too little known, and largely misunderstood. It should be included in all trombone curricula.

Jacques-Jules Bouffil was a prominent nineteenth-century French clarinetist and composer. Much of the existing biographical information for Bouffil is in French, it is often in obscure locations, and the sources available often contain discrepancies. This document provides the most comprehensive and accurate biography to date of clarinetist and composer Jacques-Jules Bouffil through examination of his studies at the Paris Conservatoire, as well as his performance career with the Paris Opéra-Comique orchestra, the Reicha Wind Quintet, and other organizations. The compositional contributions of Bouffil include a number of chamber music pieces, most notably, six trios for three B-flat clarinets, op. 7 nos. 1-3 and op. 8 nos. 1-3. These six trios comprise some of the most substantial works composed for the medium. They deserve to be better known because of their unusual concertant style writing and compositional rigor. This study offers a new performance edition with rehearsal score of Bouffil’s Trio no. 2, op. 7, a work that is not readily available to modern performers.

Thesis (D. Mus. Arts.)--University of Washington, 1990. / Vita. Includes bibliographical references (leaves [47]-48).

Thesis--Columbia University. / Includes bibliographical references.

Rares sont les musiciens de la famille des cuivres qui ignorent de nos jours le nom de Jean-Baptiste Arban (1825-1889). Son attachement au cornet à pistons et au Conservatoire de Paris a cependant relégué dans l’ombre ses autres activités : composition, enseignement, direction d’orchestre et entrepreneuriat. Afin de les faire mieux connaître, nous avons pu réunir une importante documentation issue d’archives, publiques et privées, ainsi que de la presse de son temps. Ces documents nous ont permis de mettre en évidence l’ensemble des faits relatifs à sa vie et à son œuvre, concernant tout un pan de la vie parisienne, de la monarchie de Juillet à la IIIe République. Comptant quelque 700 entrées, le catalogue d’œuvres que nous avons établi illustre aussi la richesse de sa production musicale, principalement liée à la danse et au divertissement. En retraçant le parcours atypique de cette célèbre figure musicale du XIXe siècle, de sa jeunesse passée à Lyon dans une famille d’artificiers à la direction des bals de l’Opéra, l’auteur de cette thèse espère apporter une contribution efficace à l’histoire de la société française de cette époque. / Few brass musicians today are not familiar with the name of Jean-Baptiste Arban (1825-1889). However, his commitment to the cornet as well as to the Conservatoire may have overshadowed his other activities: composition, musical education, conducting and entrepreneurial actions. In order to make them known, we have managed to collect substantial information from private and public archives and extracts of contemporary press. Such documents have allowed us to bring to the fore all the events connected with his life in Paris from the July Monarchy to the Third Republic. With about 700 entries, this catalogue illustrates how rich his musical production was (mainly linked to dance and entertainment). Thanks to such a review of the atypical career of this famous figure of music in the 19th century, going from his youth in a family of firework makers in Lyon to conducting dance at the Opera House, the writer of this thesis expects to make a significant contribution to the history of French society in those days.

Since its establishment (1795), the Paris Conservatoire has attracted top-ranking flutists who, through their playing, teaching, writings, and attitudes, (toward the Boehm flute, for example), have influenced flutists and composers throughout Europe. Through Paul Taffanel, who founded the Societe d'Instruments a Vent in 1876, standards of woodwind playing reached new heights. When Taffanel's students, Georges Laurent and Georges Barrere, emigrated to the United States, they influenced the style and development of flute-playing in this country. Through Barrere's famous student, William Kincaid, there arose what might be termed the American school. The intent of this paper is to place these flutists in perspective. The professors are discussed chronologically; information on the style, works, students, and influence of each man is included.