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Please note: this work is permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and fill out the appropriate web form. / The Verdehr Trio has been one of the leading chamber ensemble groups in the world over the past half century, featuring clarinetist Elsa Ludwig-Verdehr, violinist Walter Verdehr, and pianist Silvia Roederer. Founded in 1972, the trio worked to broaden the violin, clarinet, and piano trio’s repertoire. Since 1976, through Making of a Medium project, the ensemble has commissioned over 210 pieces from more than 150 contemporary composers all over the world. Although there were already a handful of prominent works for this configuration by Bartók, Milhaud, Khachaturian, and a few others, this genre of musical composition was established and popularized by the Verdehr trio’s efforts and their commissioned works. Indeed, other ensemble groups are actively continuing the Verdehr Trio’s legacy through performing the Verdehr’s repertoire on stage and by adding new repertoire to their programs by commissioning and arranging pieces. The concept of developing a whole new repertoire for a certain group of instruments shows great promise for the possibility of new music for contemporary musicians. From the beginning of the Verdehr Trio’s existence, James Niblock has been one of the primary supporters for the ensemble, not only as a colleague at Michigan State University, but also as a composer who has provided more than 13 pieces ranging from arrangements of pre-existing works to double concertos, including trio-specific chamber compositions. Niblock’s trio compositions make a solid contribution to the violin, clarinet, and piano trio literature as valuable exemplars of American Neoclassical music, with many similarities with Roy Harris and Hindemith. Niblock maintains a classical aesthetic in his chamber music, pursuing pure sounds, refraining from emotional or scenic expressions, and employing the use of simple instrumental techniques, few dynamics, a narrow range in the piano, thin polyphonic textures, rhythmic clarity, and small motives. On the basis of traditional idioms, he added 20th century techniques and personal preferences for shifted rhythm, perfect 4th/5th intervals, use of pitch centers rather than traditionally defined key areas, repetition of small motives, and more. / 2031-01-01T00:00:00Z

The core of this MA thesis is to map Prague piano trio-ensembles from the beginning of the 20th century up to nowadays. It deals with history of such ensembles like Czech and Smetana Trios including their contemporary successors; it mentions Suk, Foerster, Prague and New Prague Trios, trios containing the name of Antonín Dvořák in its title including new Dvořák Trio renamed from Trio Concertino. Neither renowned Guarneri Trio Prague nor younger ensembles, established in the 1990s and after 2000 (Trio ArteMiss, Kinsky Trio Prague, Orbis Trio i.e.), are absent in the list. This thesis also explores history of the genre of piano trio from 18th century on, presents the way a pianist should work as a chamber player and touches also past and present Czech institutions and organizations supporting performing chamber music in our country. In connection with these aspect the thesis mentions also possibility of new MA studies of chamber music at the Academy of Performing Arts in Prague. Finally, the author considers current chamber local and international music industry and its influence on artistic work in a piano trio.

EMF Duration: c.a. 15 minutes Robert Max Stoffregen, M. Music The University of Texas at Austin, 2012 Supervisor: Russell Pinkston Co- Supervisor: Bruce Pennycook This piano trio is an extension of my work in the area of chamber music composition, and constitutes the single largest work of mine in this area. Chamber music is the most significant area of my work as a composer, and this composition represents an attempt to expand the scope of my chamber works from single movement, contiguous pieces, to a multiple movement concert length work. The titles of each of the movements of EMF are abstracted from song lyrics by indie-rock singer/songwriters Bill Callahan, John Vanderslice, and hip-hop producer/vocalist Eligh. Each movement borrows musical material from its respective song and develops significantly the given musical “seed” according to various compositional techniques. It was my hope from the beginning that this type of referencing and borrowing might lend the music freshness, and at the very least, form a connection between my work as a composer and my musical tastes and experiences as an objective listener. There are no programmatic intentions behind EMF. / text

The Trio are a group of Carib-speaking Amerindians who live on both sides of the Surinam Brazilian Frontier. At present they number about 600 and they retain much of their traditional culture. This thesis deals with the social organisation of these people, and the subject is treated in three parts. The first part - Chapters I, II, and III - provides a background to the main part of the study which is to be found in teh second part - Chapters IV to X inclusive. The final part - Chapter XI - consists of certain comparative and theoretical points which arise from the thesis.

Dario Castello's Sonate concertate in stil moderno is a collection of 29 trio sonatas in two volumes, with 10 of them employing the sackbut. These works represent a significant repertoire for the sackbut in an era where specific instrumentation was only starting to become a convention. While these pieces are often studied, performed and recorded in Europe, most American trombonists are not aware of their existence. This study seeks to acquaint the American trombonist with the sonatas of Castello and to provide performance suggestions for those less familiar with this genre. Chapter 1 presents a survey of the current literature on Castello. Chapter 2 provides an historical background for music in Venice in the early 17th century, while Chpater 3 focuses on the composer and his music for sackbut. Chapter 4 investigages the sonata in early 17th century Venice. Chapter 5 provides an insight into early baroque performance practice by discussing principles such as affect, tempo, ornamentation, diminution and articulation. Examples from the ten sonatas are used to illustrate these principles, providing the modern trombonist with a framework in which to study Castello's music. The final chapter discusses the implications of this study on the American trombone curriculum.

Trio is a newly developed group-administered instrument designed to measure visual ability for application in cognitive styles research. This study investigated the validity of Trio as seen in its convergence or divergence with two established tests, one conceptually related and one conceptually unrelated. The correlation of Trio scores with scores on these other two tests was examined using a sample of undergraduate students. The analysis of the relationship between scores on Trio and on the conceptually related Learning Figures Test failed to provide evidence that these two tests are measuring the same construct. At the same time, Trio's correlation with the unrelated ACT English section was shown to be fairly low. This second finding supports the conclusion that Trio scores are not severely confounded by verbal ability level.

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The purpose of the current study was to determine if participation in a TRIO program at the community college would lead to academic success for transfer students at the 4-year university. Specifically, the researcher collected data for students who participated in a TRIO program at a community college from 2010-2020 to see if they had higher rates of graduation, higher rates of enrollment and completion, and higher GPAs as compared to similar students who were not involved in TRIO at a community college. The independent variables were TRIO participation, gender, first-generation status, Pell status, transfer GPA, and transfer credit hours earned. A total of 2193 transfer students from two community colleges in the southeastern region of the United States were included in this study. There were 77 transfer students who were involved in a TRIO program at a community college and 2116 transfer students who were not involved in a TRIO program. There were 8 students who were involved in a TRIO program at both institutions. A binary logistic regression was run to determine how TRIO participation affected graduation, enrollment and completion, and GPA for transfer students at the 4-year university. Transfer TRIO participation, gender, and Pell status were not significant predictors of graduation. First-generation status, although research has shown that continuing-generation students graduate at higher rates than first-generation students, was significant in terms of graduation for transfer students. Transfer GPA, and transfer credit hours earned were also found to be significant predictors of graduation for transfer students at the 4-year university. Transfer TRIO participation and Pell status were not significant predictors of enrollment and completion. Gender, in terms of females when compared to males, was a significant factor for whether a student was still enrolled or completed their degree. First-generation status, transfer GPA, and transfer credit hours earned were also significant predictors of enrollment and completion. Transfer TRIO participation, gender, Pell status, and first-generation status were found to be significant for GPA.

O presente trabalho tem o objetivo de investigar o uso da improvisação nas gravações iniciais do Tamba Trio, grupo surgido no início da década de 1960 no Rio de Janeiro. Ao longo da pesquisa, foram utilizadas algumas ferramentas de análise para compreender quais as modalidades de improvisação presentes nas gravações. Comparações foram feitas entre o Tamba com outras manifestações da mesma época. Nessas análises, foram encontrados aspectos que permitem concluir que o Tamba representou importantes tendências estilísticas da época e que influenciaram a produção da música instrumental brasileira desde então. / This work aims to investigate the use of improvisation on the first recordings of Tamba Trio, a group that came together in the beginning of the 1960s in Rio de Janeiro. Throughout the development of the work, various analysis tools were used, in order to understand the modes of improvisation present in the recordings. The findings thereof were used to compare Tamba with other artists of the same period. The results allows the conclusion that Tamba Trio represented and pioneered some important trends that influenced the so called Brazilian Instrumental Music that has been produced since then.