Padre José Maurício Nunes Garcia (1767-1830) was perhaps the most prolific, revered, and successful composer in 18th and 19th century colonial and postcolonial Brazil. Padre José Maurício's favor with King Dom João VI, the Portuguese Royal Court, and a catalogue of hundreds of compositions, is validation of his success, yet there is comparatively little academic research and recognition in comparison to his European contemporaries. Padre José Maurício's employment of the trombone within his ambitious capstone, his Missa de Santa Cecília showcases his recognizable and original compositional language. The influence of two contemporaries of Padre José Maurício, Wolfgang Amadeus Mozart (1756-1791) and Gioachino Rossini (1792-1868), had an integral and clear influence on the Missa de Santa Cecília without resulting in rote imitation. Mozartian text emphasis, independent part writing, technical demand, and traditional use of the trombone for sacred or supernatural imagery were synthesized by Padre José Maurício swiftly and originally. Simultaneously, Rossinian orchestration, close scoring, limited range, subverted structural arrivals, and emulated percussive effects were personalized and employed by Padre José Maurício. His insular development and instantaneous adaptation of new orchestration and theatrical models yields trombone writing that is idiomatic, in alignment with sacred and symphonic tradition, and essential to the study of the trombone in the early 18th century. Padre José Maurício's trombone writing is significant for primarily two reasons: it is at odds with current historical trombone texts, and his insular development in a hegemonic society yielded an individual compositional style.

Thesis (M.M.)--University of Rochester, 1947. / Typewritten. Bibliography: p. 104-105. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/

Thesis (M.M.)--University of Rochester, 1947. / Typewritten. Appendix, p. 33: "Suggested elementary trombone method." Bibliography: p. 32. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1433

Concerto per trombone e piano / Nino Rota -- Trombone alone / David Amram -- Romance / A Jorgensen -- Piece in E-flat minor / J. Guy Ropartz -- Aria de passione Domine / J. Albrechtsberger -- The conditions of the solitary bird / L. Borden. / text

Sonatina pour trombone et piano / Jacques Casterede -- Beau soir / Claude Debussy -- Elegie, op.3, no.1 / Sergei Rachmaninov -- Arrows of time / Richard Peaslee -- Sonata / Jean-Baptiste Loeillet -- Quartet for trombones / Leslie Bassett. / text

For all of recorded history musical instruments have been a source of fascination and curiosity for man. Through a major portion of this time one instrument, the trombone, has evolved with a unique design, character, and history. The earliest trombones, called sackbuts, originally had a sliding mechanism located near the mouthpiece. In the sixteenth century this was improved by the addition of the "U-turn" which facilitated holding and playing. This construction innovation was the last major change in trombone design; the trombone of 1600 was essentially the same as the trombone of today.

Sonata for flute in C minor, Wq 132 / C. P. E. Bach -- Etre ou ne pas etre / H. Tomasi -- Serenade / N. Wood -- Suite of Negro spirituals / Traditional -- Csardas / V. Monti. / text

This advanced method for trombone is designed to meet the needs of the advanced high school trombonist and to prepare him for later participation in college, civic, and professional musical organizations of higher artistic standards. The student should not be satisfied with a thorough study of this method, but should seek improvement of his musical skill in other methods. Some very worthy studies for trombone have been written by La Fosse, Vobaron, Muller, Blume and others which should prove of much value to the student.

Thesis (Ph. D.)--University of Cincinnati, 2005. / Includes bibliographical references (p. 117-121). Also available in electronic format.

Concerto in D / Leopold Mozart -- Fantasy, op. 42 / Paul Creston -- Daybreak / Nicola Ferro -- Fantaisie / Sigismond Stojoswki -- Ballade / Eugene Bozza -- Three Gershwin melodies / George Gershwin. / text