The selected works by the composers studied in this thesis might well stand as illustrative of the normal development of the use of the bass trombone near the close of the nineteenth century. Although notable progress was made by the cited composers in increasing the bass trombone's usefulness in the orchestra, each composer also continued to use the bass trombone as it had been used in previous years, such as in doubling bass parts, harmonic backgrounds, and for strong rhythmic punctuations.

The primary objectives of this paper are to deal with Stravinsky's use of the trombone and to study the different methods of scoring for the instrument which he has employed in his works. In order to make this discussion more meaningful, the first chapter contains a brief history of the use and the development of the instrument from the fifteenth century up until 1900. In the second chapter Stravinsky's major works are divided into three periods, and each is individually discussed. The general characteristics common to the related major works are pointed out to provide an understanding of each period. The remainder of the paper is devoted to a study of Stravinsky's trombone scoring in three of his major works, one from each period. A concluding chapter summarizes his writing for the trombone as exemplified by these three works, and surveys the scoring for trombone in some of his other works.

This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years. The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung. The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.

Neste momento delicado, delineado pela multiplicação de cursos de trombone por todo o país, muitos professores encontram-se despreparados e, todavia, cientes da iminente necessidade da atualização das técnicas trombonísticas como um elemento motivador e transformador de sua ação docente. Diante dessa expectativa em relação à informação educacional, percebem-se o quanto estes estão desamparados e se colocam na busca da solução mágica para resolver essa situação profissional problemática: a disponibilidade de material didático em língua portuguesa. Somado a isso, há um outro fator: a formação inicial precária desse professor. Formação esta com base num sistema fragmentado de ensino, onde ainda prevalece o esquema tradicionalista e oral de transmissão de conhecimentos. É nesse ponto que nossa pesquisa entra como um unificador de procedimentos, com saída plausível para a aquisição de novas competências exigidas pela integração dos conhecimentos atualizados internacionalmente à prática educacional. Nosso trabalho dará um panorama educacional atual, utilizando-se dos escritos de Edward Kleinhammer e Denis Wick, dentre outros. Estes nos fornecerão subsídios para a compreensão do ensino e, portanto, do professor, que não só participa mas interfere através do meio que emprega. Usaremos elementos básicos de Arnold Jacobs e Keith Johnson para se entender a formação do professor. A pesquisa divide-se em três partes: na primeira, discorre-se sobre um apanhado histórico. Iniciar-se-á quando os chifres foram substituídos por ligas de metal estes, a princípio reto, e, numa fase posterior, já retorcidos. Com a evolução musical, novas formas de arranjos foram necessárias. Estas, feitas para um número maior de vozes. Houve a necessidade de um instrumento de metal de tamanho maior, podendo, assim, ter mais extensão na direção dos graves. Essa variedade criou o trombone. Na segunda parte, confrontam-se diferentes opiniões sobre tópicos da arte de tocar trombone (escolha do instrumento; bocal; cuidados, limpeza e lubrificação; surdinas; respiração; embocadura; glissando e posições do êmbolo; articulação; como estudar e literatura específica). Na terceira e última parte, serão analisados 19 currículos universitários 12 prevalecerão de cinco países (Brasil, Venezuela, Estados Unidos, Inglaterra e Austrália). Os resultados obtidos surpreendem pela inovação nos projetos elaborados, na sutil prática pedagógica e na organização de um coletivo influente no próprio ensino do instrumento. / Trombone courses are currently multiplying throughout the country. This is a decisive momentmany professors find themselves unprepared and aware of the immediate need to update their trombone technique to motivate and transform their teaching. They need support in the form of educational information and seek a \"magical\" solution to this professional problem: teaching material in Portuguese. There is also another problem: the precarious initial education of the professor himself, including an education based on a fragmented teaching system where traditionalist methods and the oral transmission of knowledge still prevail. The purpose of this dissertation is to unify procedures, providing a plausible alternative for the acquisition of new skills through integration of and access to updated, internationally recognized knowledge on teaching. This study provides a panorama of current teaching methods based on the writing of Edward Kleinhammer and Denis Wick, among others. These works will provide a basis for the understanding of teaching and, therefore, of the teacher, who both participates and intervenes through the methods used. We will use the basic concepts of Arnold Jacobs and Keith Johnson to understand the education of the teacher. This study is divided into three parts: the first provides historical background. It begins when animal horns were replaced by metal alloysinitially straight, but later shaped. Musical evolution required new arrangements for a larger number of voices. A larger brass instrument was needed to cover the lower registers. This variety resulted in the trombone. The second part compares different opinions on the various aspects of the art of trombone playing (choosing an instrument; mouthpiece; care, cleaning and lubrication; mutes; breathing; embouchure; glissando and slide positions; tonguing; how to study and specific literature). The third and last part analyzes 19 university courses in five countries (Brazil, Venezuela, United States, United Kingdom and Australia), focusing specifically on 12. The results obtained are surprising in the innovation employed in their planning, their subtle teaching practices and the organization of an influential group of trombone teachers.

Neste momento delicado, delineado pela multiplicação de cursos de trombone por todo o país, muitos professores encontram-se despreparados e, todavia, cientes da iminente necessidade da atualização das técnicas trombonísticas como um elemento motivador e transformador de sua ação docente. Diante dessa expectativa em relação à informação educacional, percebem-se o quanto estes estão desamparados e se colocam na busca da solução mágica para resolver essa situação profissional problemática: a disponibilidade de material didático em língua portuguesa. Somado a isso, há um outro fator: a formação inicial precária desse professor. Formação esta com base num sistema fragmentado de ensino, onde ainda prevalece o esquema tradicionalista e oral de transmissão de conhecimentos. É nesse ponto que nossa pesquisa entra como um unificador de procedimentos, com saída plausível para a aquisição de novas competências exigidas pela integração dos conhecimentos atualizados internacionalmente à prática educacional. Nosso trabalho dará um panorama educacional atual, utilizando-se dos escritos de Edward Kleinhammer e Denis Wick, dentre outros. Estes nos fornecerão subsídios para a compreensão do ensino e, portanto, do professor, que não só participa mas interfere através do meio que emprega. Usaremos elementos básicos de Arnold Jacobs e Keith Johnson para se entender a formação do professor. A pesquisa divide-se em três partes: na primeira, discorre-se sobre um apanhado histórico. Iniciar-se-á quando os chifres foram substituídos por ligas de metal estes, a princípio reto, e, numa fase posterior, já retorcidos. Com a evolução musical, novas formas de arranjos foram necessárias. Estas, feitas para um número maior de vozes. Houve a necessidade de um instrumento de metal de tamanho maior, podendo, assim, ter mais extensão na direção dos graves. Essa variedade criou o trombone. Na segunda parte, confrontam-se diferentes opiniões sobre tópicos da arte de tocar trombone (escolha do instrumento; bocal; cuidados, limpeza e lubrificação; surdinas; respiração; embocadura; glissando e posições do êmbolo; articulação; como estudar e literatura específica). Na terceira e última parte, serão analisados 19 currículos universitários 12 prevalecerão de cinco países (Brasil, Venezuela, Estados Unidos, Inglaterra e Austrália). Os resultados obtidos surpreendem pela inovação nos projetos elaborados, na sutil prática pedagógica e na organização de um coletivo influente no próprio ensino do instrumento. / Trombone courses are currently multiplying throughout the country. This is a decisive momentmany professors find themselves unprepared and aware of the immediate need to update their trombone technique to motivate and transform their teaching. They need support in the form of educational information and seek a \"magical\" solution to this professional problem: teaching material in Portuguese. There is also another problem: the precarious initial education of the professor himself, including an education based on a fragmented teaching system where traditionalist methods and the oral transmission of knowledge still prevail. The purpose of this dissertation is to unify procedures, providing a plausible alternative for the acquisition of new skills through integration of and access to updated, internationally recognized knowledge on teaching. This study provides a panorama of current teaching methods based on the writing of Edward Kleinhammer and Denis Wick, among others. These works will provide a basis for the understanding of teaching and, therefore, of the teacher, who both participates and intervenes through the methods used. We will use the basic concepts of Arnold Jacobs and Keith Johnson to understand the education of the teacher. This study is divided into three parts: the first provides historical background. It begins when animal horns were replaced by metal alloysinitially straight, but later shaped. Musical evolution required new arrangements for a larger number of voices. A larger brass instrument was needed to cover the lower registers. This variety resulted in the trombone. The second part compares different opinions on the various aspects of the art of trombone playing (choosing an instrument; mouthpiece; care, cleaning and lubrication; mutes; breathing; embouchure; glissando and slide positions; tonguing; how to study and specific literature). The third and last part analyzes 19 university courses in five countries (Brazil, Venezuela, United States, United Kingdom and Australia), focusing specifically on 12. The results obtained are surprising in the innovation employed in their planning, their subtle teaching practices and the organization of an influential group of trombone teachers.

Thesis (D.M.A.)--University of North Texas, 2001. / For solo trombone, 4 trumpets (2 doubling flugelhorn), 4 horns, 3 trombones, euphonium and tuba. Includes analysis by composer. Includes bibliographical references.

Made available in DSpace on 2015-05-14T12:52:31Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1474085 bytes, checksum: 53eebfe63eaaa4517135ec0d8600346b (MD5) Previous issue date: 2012-07-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper discusses the challenge of the trombone performance in interpreting the work Inventiva No. 1 for solo trombone Francisco Fernandes Filho, known as Maestro Chiquito. The first stage of this research deals with the history of the composer's life, contemplating with his characters and events the importance of Maestro Chiquito for instrumental music of Paraiba. The second approach we intend to do a technical and expressive elements of a general scope of the music written for trombone, and stylistic elements found in the composer's work for trombone above. In the third and last, we demonstrate the concepts of interpretative Inventiva No. 1 for solo trombone, which represent a considerable portion of relevance to the trombone repertoire in Brazil. In the methodology of this research were readings that underlie the concepts of musical performance of the performer, the compositional process of music for trombone, as well as discussions about the work being studied in order to have an understanding of the concepts and interpretive style for the executed, where we use various instruments to collect data such as photographs, interviews and analysis of the interviews, addition to the literature review and consultation Internet. It is hoped that with this whole process seen and analyzed on the music written for the trombone Maestro Chiquito, serve as a parameter to other trombonists will use as study material. / Este trabalho discute o desafio da performance do trombonista em interpretar a obra Inventiva nº1 para trombone solo de Francisco Fernandes Filho, conhecido como Maestro Chiquito. O primeiro capítulo desta pesquisa trata da história de vida do compositor, contemplando com seus personagens e eventos a importância do Maestro Chiquito para a música instrumental da Paraíba. No segundo capítulo buscamos uma abordagem dos elementos técnicos e expressivos num âmbito geral da música escrita para trombone, bem como os elementos estilísticos encontrados na obra para trombone do compositor acima citado. No terceiro e último capítulo demonstramos as concepções interpretativas da Inventiva nº1 para trombone solo, que constituem considerável parcela de relevância para o repertório do trombone no Brasil. Na metodologia desta pesquisa foram feitas leituras que fundamentaram os conceitos da performance musical do instrumentista, o processo composicional da música para trombone, bem como, discussões a cerca da obra em estudo, afim de se ter um entendimento das concepções interpretativas e de estilo para a execução da mesma, onde utilizamos de vários instrumentos de coleta de dados,como, fotografias, entrevistas e análise das entrevistas, além da revisão bibliográfica e consulta a internet. Espera-se com isso, que todo o processo visto e analisado sobre a música escrita para trombone do Maestro Chiquito, sirva de parâmetro para que outros trombonistas venham a utilizar como material de estudo.

Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.

The specific problems investigated involved identifying and describing the characteristics of fundamental frequency, overall intensity, and spectral content in unaccompanied and ensemble performance settings. Additionally, comparisons and descriptions of the relationships among these acoustical parameters were made. Fifteen trombonists were used as research subjects. Each subject recorded a selected musical excerpt in the following performance modes: high register unaccompanied, harmonic, and unison ensemble; and low register unaccompanied and unison ensemble. Tape recordings of these subjects were used in conjunction with certain electronic apparatus to obtain data on frequency, intensity, and spectral content. Based on these data, descriptions of these acoustical parameters and comparisons of unaccompanied and ensemble performance settings were made.

The repertoire for trombone and percussion has grown in popularity since the later 1980s. There are currently more than 110 pieces written for the ensemble. This project follows the commissioning and collaboration of Dr. Blake Tyson, Professor of Percussion at the University of Central Arkansas and well known percussion composer, in the creation of a new piece for trombone and percussion. The project also created a survey of works for trombone and percussion duet that includes 32 works. The survey includes details such as specific percussion instrumentation range, tessitura, grade level, publisher, and a description of each piece.