Thesis (Ph. D.)--Johns Hopkins University, 1973. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [394]-408).

Thomas G. Everett's activities as a catalyst for bass trombone repertoire and scholarship are significant in the development of further research in the field, and in the development of new performance repertoire. An examination of Everett's life and musical influences precedes the detailing of his pursuits of new solo/chamber music for the bass trombone. A discussion of Everett's efforts in obtaining new performance repertoire by means of commission or request is followed by an examination of four pieces composed for Everett. The four pieces profiled are Sonata Breve by Walter Hartley, Prelude, Fugue, and Big Apple by Walter Ross, Everett Suite by Ulysses Kay, and 100 Bars for Tom Everett by András Szöllösy. Three of these four pieces, the Hartley, Ross, and Kay selections, are the repertoire for the performance recital portion of this research. Everett's contributions in the area of publication, including details of his Annotated Guide to Bass Trombone Literature are addressed as well as his role as founder of the International Trombone Association (ITA) and the implications of this organization's existence upon the growth of knowledge in the area of trombone pedagogy and performance. Two appendices account for the pieces in which Everett was involved in bringing to the repertoire. A third appendix is an annotated bibliography of Everett's trombone-related periodical publications.

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record.

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded Apr. 8, 1996, Jan. 27, 1997, Nov. 30, 1998, and June 24, 2002. Includes bibliography of trombone music (p. 44-53); other bibliographical references (p. 54-67).

Thesis (D. Min.)--Gordon-Conwell Theological Seminary, South Hamilton, Mass., 2001. / Abstract and vita. Includes bibliographical references (leaves 113-115).

Titcomb's compositions and writings are the products of a life lived in New England, mainly in Amesbury and Boston. Because the innovations that came about from the Oxford movement reached that part of this country first, Titcomb was one of the first church musicians to become involved with its innovations. Chapter 1 is devoted to a biographical account of his early life in Amesbury, and documents his work at the Church of the Messiah in Auburndale and Christ Church in Andover, where he took the two positions immediately after his high school graduation. Chapter 2 treats the fifty years that he worked at St. John the Evangelist, building up the choir and its repertoire to such an extent that other churches invited the group to give liturgical recitals. Chapter 3 discusses his teaching activities at the New England Conservatory, Boston University, the Wellesley Conference, and his work with the Schola Cantorum at the Church of St. John the Evangelist, all of which influenced many young musicians who brought their craft to churches throughout the United States. Chapters 4-6 are devoted to his choral, organ, and miscellaneous works: examples from unpublished manuscripts will be discussed; premiers are documented, and excerpts of correspondence from the composer are given concerning specific works. His compositional style will be discussed with assessments of individual works, and examples will be given from the different styles and genres to which he contributed. Chapter 7 discusses his writings, which deal specifically with the work of an organist and choirmaster in an Episcopal church. Titcomb's ideas concerning the musical life of a parish will be examined, including his thoughts on the performance of hymns, the choice of fitting music for the liturgy, and the accompaniment of Plainsong.

No description available.

Transverse zones cross strike of thrust-belt structures as large-scale alignments of cross-strike structures. The Transylvania fault zone is a set of discontinuous right-lateral transverse faults striking at about 270º across Appalachian thrust-belt structures along 40º N latitude in Pennsylvania. Near Everett, Pennsylvania, the Breezewood fault terminates with the Ashcom thrust fault. The Everett Gap fault terminates westward with the Hartley thrust fault. Farther west, the Bedford fault extends westward to terminate against the Wills Mountain thrust fault. The rocks, deformed during the Alleghanian orogeny, are semi-independently deformed on opposite sides of the transverse fault, indicating fault movement during folding and thrusting. Palinspastic restorations of cross sections on either side of the fault zone are used to compare transverse fault displacement. The difference in shortening corresponds to the amount of displacement on either side of the transverse fault. The palinspastic restoration indicates a difference in the amount of shortening that will balance farther to the west in the Appalachian Plateau province.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 420-430). Available also in a digital version from Dissertation Abstracts.

abstract: This document is a compendium of the materials that are housed within the special collections donated by Thomas Everett. In August 2016, the Arizona State University School of Music, through the efforts of retired Professor of Trombone Douglas Yeo, received a donation of materials from Thomas Everett, founder of the International Trombone Association and retired director of bands at Harvard University. This donation contains published and unpublished music, numerous letters, and various drafts of his book, An Annotated Guide to Bass Trombone Literature. Over the course of two-and-a-half years, the donation was catalogued for the university by the author. Materials from the donation were sent into public circulation or sent into special collections within the ASU School of Music Library. / Dissertation/Thesis / Doctoral Dissertation Music 2019