Thesis (Ph. D.)--New York University, Graduate School of Arts and Science, 2005. / Typescript. Includes bibliographical references (leaves 331-358). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

abstract: The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists. / Dissertation/Thesis / D.M.A. Performance 2013

The objective of this two-part treatise is to historically understand Eugène Ysaÿe's Six Sonatas for Solo Violin, Opus 27. My intent is to utilize the reverse of the one-composer and multi-performer model to commission new works for unaccompanied violin. The first chapter provides historical and musical background on the Ysaÿe sonatas. Chapter two discusses the necessary steps to commissioning a work, a list of resources, as well as the specific steps taken to complete this project. Chapter three features composer biographies and descriptions of new works commissioned. Lastly, the fourth chapter is a conclusion of the two-part project, in addition to ideas for future commissions. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2017. / April 13, 2017. / Commission, Composition, Sonatas, Unaccompanied, Violin, Ysaye / Includes bibliographical references. / Corinne Stillwell, Professor Directing Treatise; J. Joseph Cronin, University Representative; Alexander Jiménez, Committee Member; Greg Sauer, Committee Member.

The focus of this treatise is to provide information and opinions regarding clarinet repair and maintenance. There are few resources available on general maintenance and repair designed specifically for the clarinet teacher and performer. Since so many of the common maintenance issues clarinetists face do not have a simple answer, my hope is that by presenting varying opinions, the clarinet instructor can come to her own conclusions. Included in my research are interviews from expert repairmen Tim Clark, Morrie Backun, and Bruce Marking. All are exceedingly skilled in the field of woodwind repair, particularly with clarinets, and each provided unique and inspiring knowledge about clarinet repair. The majority of literature on the subject is written for an audience that already possesses some knowledge about repair, or at the very least a working awareness of certain mechanical proficiencies. Ultimately, I found three sources to be of great help for those new to repair: Stephen Howard’s Clarinet Manual: How to Buy, Set Up, and Maintain a Boehm System Clarinet, Heather Karlsson’s Care and Feeding of Your Clarinet: A User’s Guide to Basic Maintenance, and Robert Schmidt’s A Clarinetist’s Notebook, Volume 1: Care and Repair. This treatise provides information regarding general maintenance topics and details short-term repair solutions. While clarinets will inevitably require some repair over time, many common problems are largely avoidable. Preventative care is the key to avoiding sudden repair needs. Yearly maintenance on a clarinet will reduce the wear of the mechanisms and keys, keep the tone holes free of debris, maintain the health of the wood, and address several other aspects discussed in this document. This document is designed to assist educators of students with basic repair and maintenance instructions. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2018. / May 03, 2018. / clarinet, clarinet maintenance, clarinet preventative care, clarinet repair / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Steven Kelly, University Representative; Jonathan Holden, Committee Member; Jeffrey Keesecker, Committee Member.

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Thesis (M.Sc.)--University of Hong Kong, 2005. / Includes bibliographical references (p. 59-63)

<p> The modern trumpet performer will be called upon to perform many different styles during their career. One of the ways a classical trumpet student can learn to play different styles is through performing in as many ensembles as their school offers and playing solos written in the vein of third stream music. One of these solos is Alfred Reed's Ode for Trumpet. This work allows the performer to experiment with jazz sounds and style without the worry of improvisation. To successfully perform this work one must have a proper sound concept, style, and the ability to tastefully embellish the melody. </p><p> The methodologies that will be used in this project report are performance practice, theoretical and analytical, and narratology. The performance practice methodology will be used to describe how to perform a work in the third stream of music. The theoretical and analytical methodology will be used to show why certain embellishments work harmonically and why the piece is considered third stream music. Finally, the short biographies of Alfred Reed and Don Jacoby will fall under the narratology methodology. </p><p> The purpose of this project report is to investigate how to properly and successfully perform trumpet works in the third stream genre and how they relate to the needs of the everyday professional trumpet player. It will cover sound concepts, style, and embellishments that will help guide a performer to their own voice in this music. The ability to change tonal colors, swing, and use extended techniques will be required of the player in various musical settings from playing in pops orchestras to Broadway style musicals to playing in a big band. These topics are important for every trumpet player, specifically classical trumpeters, to learn because they will be required to be knowledgeable and have mastered these skills to have success as a professional trumpeter. </p>