The basic purpose of this dissertation is to provide the trombonist of today with a realization concerning ornamentation practices of the baroque period, and to supply trombonists and trombone instructors with the resources necessary to include the appropriate ornaments in a performance of baroque music.Chapter 1 is concerned with the ornamentation practices of Italy and France, the two most influential nations in the development of a mature style of baroque performance. The Italian tradition of free embellishment is presented and compared with the French tradition of composers' providing specific ornaments for their music. The author's choice of ornaments presented in the sonatas of Galliard, Marcello, and Vivaldi in Chapters 4, 5, and 6 is based on the prominence of these two styles.Chapter 2 is a presentation of the three most popular categories of embellishments employed during the baroque period. The families of appoggiaturas, trills, and mordents, are notated together with suggestions for their proper expression and execution on the trombone. Examples are taken from the embellished sonatas presented later in this study, using measure numbering to identify their placement withineach measure.Chapter 3 is an essay dealing with the art of trilling on the trombone. The overtone series is explained in regard to the formation of thirds, and to the proper notation necessary to adequately perform trills of major and minor thirds. A section concerning the use of the "F" attachment for performing baroque trills is highlighted with examples identifying several valve and slide combinations that favor the execution of major and minor seconds on the trombone.Chapters 4, 5, and 6 are an application of baroque embellishments to eighteen sonatas from the baroque period. Each of the ornaments is notated and placed within the context of the music. The musical compositions chasen for this study represent the Six Sonatas for Bassoon and Harpsichord Johann Ernst Galliard, Six Sonatas for Viloncello and Piano by Benedetto Marcello, and Six Sonatas for Violoncello and Figured Bass by Antonio Vivaldi.

Thesis (D.M.A.)--University of Texas at Austin, 2003. / Supervisor: Russell Pinkston. Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 28, 1999, Jan. 24, 2000, Jan. 29, 2001, and Apr. 10, 2006. Includes bibliographical references and discography (p. 66-70).

abstract: The ability of musicians to perform well in multiple musical styles is increasingly common and necessary. This paper profiles two trombonists who have gone well beyond the ability to function in multiple genres, and are instead considered significant artists. Tony Baker and Alex Iles were chosen to be profiled for this project because both have achieved recognition as solo artists in the genres of classical music and jazz and have performed on international stages as soloists. They also have significant ensemble experience in both classical and jazz settings and are active teachers as well. Both hold-high profile positions that have helped grow their reputations as performers: Mr. Baker as a professor at one of the largest music schools in the United States, the University of North Texas, and Mr. Iles as a highly in-demand freelance musician in Los Angeles. This paper presents interviews with both trombonists that investigate their development as musicians and soloists in both classical music and jazz. They are asked to describe the benefits and challenges of performing at a high level in both styles, and how these have affected their musical voices. Common traits found in their responses are examined, and recommendations are created for musicians seeking stylistic versatility. / Dissertation/Thesis / D.M.A. Music 2012

Submitted by Daniel Lima (danielvictor360@yahoo.com.br) on 2018-02-01T20:23:59Z No. of bitstreams: 1 TRABALHO DE CONCLUSÃO FINAL.pdf: 123383598 bytes, checksum: 02bd5af92184e70bc47e7588d2575347 (MD5) / Approved for entry into archive by Nilson Nascimento Souza (nilson@ufba.br) on 2018-02-26T14:15:32Z (GMT) No. of bitstreams: 1 TRABALHO DE CONCLUSÃO FINAL.pdf: 123383598 bytes, checksum: 02bd5af92184e70bc47e7588d2575347 (MD5) / Made available in DSpace on 2018-02-26T14:15:32Z (GMT). No. of bitstreams: 1 TRABALHO DE CONCLUSÃO FINAL.pdf: 123383598 bytes, checksum: 02bd5af92184e70bc47e7588d2575347 (MD5) / Universidade Federal da Bahia / O maestro José Ursicino da Silva (maestro Duda) é um dos mais importantes compositores do Brasil ainda em atividade. A sua orquestra e os seus inúmeros frevos contribuíram muito para este destaque no cenário nacional. É possível encontrar em sua obra uma grande variedade de peças compostas para várias formações instrumentais, sendo muitas destinadas para instrumentos solistas específicos, como as peças para trompete, trompa, trombone, entre outros. Este trabalho contém vinte e cinco peças do maestro Duda, formadas por dezenas de melodias reunidas em suítes, concertinos, coletâneas, músicas para metais, fantasias, etc. A partir da análise das obras, da transcrição e da adaptação foi possível fazer com que todas as peças aqui selecionadas pudessem ser tocadas por trombone solo e piano. A riqueza das obras compostas pelo maestro Duda e o desejo de ampliação do repertório brasileiro para trombone solo e piano motivaram a pesquisa em questão. No trabalho apresento a entrevista com o maestro Duda, o artigo, o memorial e as atividades profissionais desenvolvidas no decorrer do meu curso de Pós-Graduação Profissional em Música-Mestrado, na área de Criação Musical–Interpretação. / The conductor José Ursicino da Silva (maestro Duda) is one of the most important composers of Brazil still in activity. His orchestra and his numerous frevos contributed much to this highlight in the national scene. It is possible to find in his work a great variety of composite pieces for various instrumental formations, many of which are destined for specific solo instruments, such as trumpet, horn and trombone pieces, among others. This work contains twenty-five pieces by maestro Duda, consisting of dozens of melodies gathered in suites, concerts, compilations, music for me tals,fantasies, etc. From the analysis of works, transcription and adaptation it was possible to make all the pieces selected here could be played by solo trombone and piano. The richness of the works composed by maestro Duda and the desire to expand the Brazilian repertoire for trombone solo and piano motivated the research in question. In the work I present the interview with maestro Duda, the article, the memorial and the professional activities developed during my course of Professional Post-Graduation in Music- Masters (Maester of Musical Arts), in the area of Musical Creation- Interpretation.

Submitted by Diego Leite (diego.ramires@hotmail.com) on 2016-03-22T00:03:10Z No. of bitstreams: 1 TCF MESTRADO UFBA 2015 - DIEGO RAMIRES CORRIGIDO.pdf: 6734056 bytes, checksum: 6fd979b483deab00e0671e1dec49eeaa (MD5) / Made available in DSpace on 2016-03-22T00:03:10Z (GMT). No. of bitstreams: 1 TCF MESTRADO UFBA 2015 - DIEGO RAMIRES CORRIGIDO.pdf: 6734056 bytes, checksum: 6fd979b483deab00e0671e1dec49eeaa (MD5) / A execução de uma música ou melodia em um instrumento musical é uma atividade que requer um grande preparo prévio por parte do intérprete. Sendo o estudo de exercícios de suma importância para a prática de músicas dentro das mais variadas formas e estilos musicais, é fundamental atentarmo-nos a escolha de nossos exercícios técnicos de prática diária. Para que tenhamos um melhor aproveitamento dos mesmos, o presente trabalho pretende apresentar o olhar de diversos trombonistas e pesquisadores sobre os fundamentos técnicos do trombone, assim como apresentar o memorial de minhas experiências vivenciadas, relatórios das práticas supervisionadas e o artigo apresentado em eventos durante o curso. / Abstract This Performing a song or melody in a musical instrument is an activity that requires a lot of prior preparation by the interpreter. And the study of paramount importance exercises to practice music in the most varied forms and musical styles , it is essential atentarmo us choosing our technical exercise daily practice. In order to have a better use of them , this paper aims to present the look of many trombonists and researchers on the technical fundamentals of the trombone, as well as present the memorial of my life experiences , the supervised practice reports and the paper presented at events during the course.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2017. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-06-27T14:28:36Z No. of bitstreams: 1 2017_SamuelGomesdeSouza.pdf: 23411289 bytes, checksum: 8b45284e2d870b1b4c8ddaabd06ec47c (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-06-29T16:39:39Z (GMT) No. of bitstreams: 1 2017_SamuelGomesdeSouza.pdf: 23411289 bytes, checksum: 8b45284e2d870b1b4c8ddaabd06ec47c (MD5) / Made available in DSpace on 2018-06-29T16:39:39Z (GMT). No. of bitstreams: 1 2017_SamuelGomesdeSouza.pdf: 23411289 bytes, checksum: 8b45284e2d870b1b4c8ddaabd06ec47c (MD5) Previous issue date: 2018-06-27 / Este trabalho tem como objeto de pesquisa a coletânea conhecida como os Estudos Melódicos de Joannes Rochut, adaptados para trombone a partir dos vocalises de Marco Bordogni, uma obra bastante popular no universo trombonístico. A presente pesquisa buscou avaliar o quanto esses estudos são utilizados por trombonistas brasileiros e propor novas formas de analisar esse material. Um questionário online foi disponibilizado para realizar um levantamento sobre o perfil do trombonista que pratica os métodos de Rochut no Brasil. O trabalho investigou também todas as posibilidades de ligaduras para cada intervalo melódico presente nos primeiros sessenta estudos dessa coleção e as diversas combinações de movimento da vara para executar essas ligaduras. Essa investigação foi viabilizada mediante o desenvolvimento de um software de digitalização e análise desse material, especialmente desenvolvido para essa pesquisa pelo Núcleo de Computação Musical do Depto. de Música da Universidade de Brasília. / This research looks at the musical collection know as Melodious Etudes for Trombone by Joannes Rochut, adapted for trombone from the vocalises of Marco Bordogni. The research tried to evaluate how much these etudes are used in Brazil and to propose new ways of analysing them. An online questionaire was deployed in order to survey the use of this material among Brazilian trombonists. This project also investigated all the possible slurred connections for each interval contained in the first sixty etudes of this collection and the various slide movements involved in producing them. The investigation was made possible by the use of a computer program for acquiring and analysing the data, specially developed for this project at the Music Department of the University of Brasilia.

abstract: Literature is an important source for children to learn about many aspects of life, including music, and, more specifically, the trombone as a special type of musical instrument. The project at hand seeks to encourage the introduction of the trombone to young children through books and stories in which the instrument is featured prominently. Seven such books by various authors are identified and analyzed, and a study guide for each is presented. In addition, a brief history of children’s literature and a discussion of its use in the music classroom provide context for these seven books as well as any music-themed literature. Finally, the centerpiece of this project is the creation of a new book intended for children and featuring the trombone, written and illustrated by the present author. / Dissertation/Thesis / Doctoral Dissertation Music 2016

abstract: Nikolay Andreyevich Rimsky-Korsakov’s Concerto for Trombone and Military Band and Georg Philipp Telemann’s Sonata in F minor TWV 41:f1 are two works from contrasting periods written by well-known composers. International Music Company first published the Sonata in 1968 for trombone, edited by Allen Ostrander. Rimsky-Korsakov’s Concerto for Trombone was first published in the United States by Leeds Music Corporation in 1952, edited by Davis Shuman. Both of these compositions contain editorial concerns that detract from each composer’s original music. In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov. This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions. / Dissertation/Thesis / Doctoral Dissertation Music 2016

abstract: This thesis proposes an augmentation of the Complete Method for Trombone by Jean Baptiste Arban. Although it is widely considered one of the leading trombone method books in the world, a thorough consideration of the demands of most performed solo literature today reveals serious shortcomings in the Arban Method for preparing trombonists to encounter such demands as meter and rhythm, keys and tonalities, range and endurance, clefs and F-attachment usage. This thesis thus proposes additions for a new version of the Arban Method that better aligns with the playing demands of the most performed solo literature today, as compiled by the International Trombone Association Journal since 1972. / Dissertation/Thesis / Doctoral Dissertation Music 2018