Vallflickans dans (from Bergakungen) / Hugo Alfven -- Apres un reve / Gabriel Faure -- Euphonium concerto / Vladimir Cosma -- Piece en forme de habanera / Maurice Ravel -- Concert piece no.1 / Joseph Turrin -- Elegy / John Stevens -- Brilliant fantasy / Jean-Baptiste Arban. / text

Eine kleine Nachtmusik / W. A. Mozart -- Benediction / John Stevens -- When tubas waltz / Alfred H. Bartles -- Prelude and dance / Gregory Fritze -- Pop suite / Arthur Frackenpohl -- Dances / John Stevens -- A superhero suite / Ben Hackett. / text

Concerto in B-flat major / Wolfgang Amadeus Mozart -- Diversions / John Stevens -- Euphonium concerto / Vladimir Cosma / text

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by recitals, recorded Mar. 29, 1999, Jan. 29, 2001, Nov. 5, 2001, Nov. 4, 2002, and Apr. 12, 2004. Includes bibliographical references (p. 48-55).

Sonata in F major / Benedetto Marcello -- Rhapsody for euphonium / James Curnow -- Harlequin / Philip Sparke -- A walk in the woods / Jiro Censhu -- Pantomime / Philip Sparke -- Shapes in bronze / Walter Ross. / text

Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 3, 2003, Apr. 5, 2004, Apr. 18, 2005, and June 8, 2007. Includes bibliographical references (p. 46-48).

The euphonium has been a respected member of military bands, brass bands, and civilian concert (wind) bands since its invention in 1843. These bands were very visible to the public, and often performed popular music of the day. Since then, the euphonium has had occasional use in orchestral works, jazz, and in brass chamber groups as well. However, by the middle of the 20th century, its traditional use as an instrument of the wind band resulted in a prevailing attitude of the music world toward the euphonium as an instrument strictly for that purpose. This attitude, along with changing popular tastes in music, has over time caused professional opportunities for euphoniumists to become very limited. This lack of public expose for the instrument has therefore resulted in people outside of wind band experience being unaware of the euphonium's existence. There have been, however, positive signs in the last thirty years that changes are taking place in prevailing attitudes toward the euphonium. The formation of the Tubists Universal Brotherhood Association (renamed the International Tuba Euphonium Association in 2000) as a supportive professional organization, the emergence of the tuba/euphonium ensemble as chamber music, new solo works by major composers, and the use of euphonium in nontraditional ensembles have all served to promote the instrument. The future of the euphonium will depend on exploring the possibilities of using the instrument in non-traditional ensembles, and on changing the way euphonium is taught in a way that will adjust to the changing musical climate.

Euphonium concertos and similar masterworks for euphonium have been recorded, written about, analyzed, and discussed at length numerous times in recent years. Unfortunately, the most frequently studied and performed euphonium solos have been almost completely ignored in this regard. These works are useful for performance by the undergraduate-level euphonium player. Solos in this category are played by strong high school players and undergraduate euphonium students all over the world. These solos receive countless performances and play a crucial role in the development of young euphonium players, yet have never received attention in the form of a published pedagogical guide. The pieces of greater difficulty and substantial length have received more attention for obvious reasons, but solo pieces most useful for the developing euphoniumist need to be analyzed and discussed on a pedagogical level. This paper is a pedagogical guide to commonly played euphonium solos by the undergraduate level student. The three pieces used in this study are Sonatina by Warner Hutchison, Sonata for Unaccompanied Euphonium by Fred Clinard, and Lyric Suite by Donald White. Pertinent background information about each piece is presented in order for the reader to understand the historical context in which it was written. A list of relevant information and minimum performance skills (instrumentation, length, range, articulation skills, etc.) are included for each selection. An analysis of particular sections of each piece are presented for the reader to adequately grasp concepts and practice ideas that are explained, although the bulk of analysis is of a pedagogical nature. The main body of the paper focuses on assisting the reader with ways to approach this solo literature in daily practice as well as effective performance ideas. Particularly troublesome areas of each piece are identified and strategies to overcome common pitfalls and performance errors are noted.

The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel's Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins' Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice.