<p> This paper will serve as a practical performance guide for students and young pianists who wish to explore this sonata, and will provide knowledge that will help them shape their own interpretation. Interpretations vary from pianist to pianist and this paper will not propose a unique interpretation of Barber&rsquo;s Sonata Op. 26. Instead, I will analyze the piece step by step, so as to point out the harmonic and melodic material which should be followed in order to understand the structure of the music. With specific technical advice and aesthetic suggestions both from recordings and my own experience I will try to elucidate the very thick texture and give another perspective of the piece. </p><p> A brief sketch of the composer&rsquo;s biography will serve to establish an understanding of the historical background of the piece. Also, a stylistic analysis of the piece will be made through a study of the score. The original recording is the one by Vladimir Horowitz, whose relationship with Barber could absolutely be the subject of a whole new research project. </p>

<p> This project was intended to provide empirical data to determine if materials (e.g. Cocobolo, Mopane, Grenadilla, Delrin, and Purpleheart) used to make clarinet barrels have an effect on sound quality and response. The following questions were addressed in this study: For clarinet barrels, do different types of exotic hardwoods and plastics have a measurable effect on the sound qualities (timbre) of the clarinet? Do different materials used to manufacture clarinet barrels have a measurable effect on the response (immediacy of tone and vibration to the player) of the instrument? Do different materials have a measurable impact on the intensity (volume/projection) of the clarinet? Will participants have a preference for specific materials tested? Results indicated that 25% of participants chose Mopane, 25% of participants chose Grenadilla, 25% of participants chose Delrin, and 25% of participants chose Purpleheart, meaning no material was preferred by a majority of the participants. No participant chose Cocobolo. Though there were commonalities among recordings of each material, the findings were not substantial enough to determine true differences in timbre, response to articulation, or intensity.</p>

<p> I. Solo Recital: Sunday, April 28, 2013, 7:30 p.m., UNCG Recital Hall. <i> Sonata Concertante</i>, (Walter Hartley); <i>Romanza Appassionata </i>, (Carl Maria von Weber); <i>Ballade for Bass Clarinet</i>, (Eug&egrave;ne Bozza); <i>Sonatine</i>, pour Trombone et Piano (Jacques Cast&eacute;r&egrave;de); <i>Cinq melodies de Venise</i>, op. 58 (Gabriel Faur&eacute;). </p><p> II. Solo Recital: Sunday, March 2, 2014, 3:30 p.m., UNCG Recital Hall. <i> Red Dragonfly</i>, (Amy Riebs Mills); <i>Sieben fr&uuml;he Lieder </i>, (Alban Berg); <i>Capriccio da camera</i>, Op. 35 (Bernhard Krol). </p><p> III. Solo Recital: Sunday, November 16, 2014, 1:30 p.m., UNCG Recital Hall. <i>Fanfare</i>, (John Kenny); <i>Sonata</i>, for trombone and piano (Eric Ewazen); <i>F&uuml;nf Lieder</i>, (Witold Lutoslawski); <i>Fandango</i>, for trumpet, trombone and piano, (Joseph Turrin). </p><p> IV. Lecture Recital: Friday, February 27, 2015, 3:30 p.m., UNCG Organ Hall. <i>Drei Ges&auml;nge von Goethe</i>, "Mit einem gemalten Band," (Ludwig von Beethoven); <i>Sieben fr&uuml;he Lieder</i>, "Die Nachtigall," (Alban Berg); <i>F&uuml;nf Lieder</i>, "Dzwony cerkiewne," (Witold Lutoslawski). </p><p> V. D.M.A. Recital Document. SONG SETS BY BEETHOVEN, BERG, AND LUTOSLAWSKI: TRANSCRIPTIONS FOR TROMBONE AND PIANO WITHIN A LECTURE RECITAL. The purpose of this project was to transcribe and adapt idiomatic songs for the trombone and present the songs in a lecture recital that demonstrated the efficacy of the vocal works as literature for the trombone. The song sets chosen for this project represent three different periods of music composition, from Romantic to mid-twentieth century. The Romantic song set of <i>Drei Ges&auml;nge von Goethe</i> by Ludwig von Beethoven was chosen to best display the melodic and vocal quality of the trombone. <i>Sieben fr&uuml;he Lieder </i> by Alban Berg was chosen to demonstrate the chromatic capability of the trombone as a melodic instrument. The tonal and dynamic ranges of the trombone, as well as its rhythmic and articulation abilities were exercised in <i>F&uuml;nf Lieder</i> by Witold Lutoslawski.</p>

<p> The purpose of this study was to address performance practice, and develop a systematic approach to the preparation of three pieces composed for the <i> Morceaux de Concours</i> at the Paris Conservatory. The pieces were written by former students of the conservatory. Each composition features distinct musical and technical challenges for the trumpet. <i>Solo de Concours </i> written by Theo Charlier requires the performer to play musically in a variety of ranges, dynamics, and articulations. For this work, exercises were composed to address these demands. Morceau de Concours by Augustin Savard is technically less challenging but requires mastery of phrasing and lip flexibility. Finally, Legend requires the most preparation out of the three works examined. The composition requires a performer to have established solid trumpet fundamentals. For this piece, dynamic exercises, a chromatic etude and multiple tonguing exercises were developed to equip the trumpeter with the skills needed to excel in the performance of these works.</p><p>