A produção orquestral de Villa-Lobos é indubitavelmente grandiosa e exuberante, confrontando a nós músicos, desafios de ordem técnica e interpretativa. Este trabalho discutirá sobre algumas das partes destinadas aos metais graves e suas possíveis soluções técnicas. Escolheram-se oito peças sinfônicas de palco na intenção de se tabular uma amostra razoável dessa faceta composicional de Villa-Lobos. As sugestões interpretativas serão embasadas em análises de autógrafos e suas edições, visualizadas por meio de trechos das partes orquestrais e corroboradas por uma revisão atualizada da literatura, propondo que se busque uma compreensão maior sobre as ferramentas expressivas oferecidas ao intérprete de metal grave, inserindo-o dentro da dialética villalobiana. / The orchestral production of Villa-Lobos is certainly grand and lush. It is confronting us musicians in a technical and interpretive challenges order. This doctoral essay will discuss some of the parts composed for low brass and their possible technical solutions. It was chose eight symphonic pieces in order to major measure a reasonable sample of the compositional facet of Villa-Lobos. Interpretation suggestions are based on solid analysis from autograph and their issues, visualized by means of excerpts from the orchestral and supported by an updated literature review parts, proposing to seek a greater understanding of the expressive tools offered to low brass musician and inserting them inside of the villalobiana´s dialectic.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:46Z No. of bitstreams: 1 FlavioDavinoDeOliveira_DISSERT.pdf: 3691081 bytes, checksum: 881e14c2e293a35d58edd9b925907732 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-16T21:06:08Z (GMT) No. of bitstreams: 1 FlavioDavinoDeOliveira_DISSERT.pdf: 3691081 bytes, checksum: 881e14c2e293a35d58edd9b925907732 (MD5) / Made available in DSpace on 2018-03-16T21:06:08Z (GMT). No. of bitstreams: 1 FlavioDavinoDeOliveira_DISSERT.pdf: 3691081 bytes, checksum: 881e14c2e293a35d58edd9b925907732 (MD5) Previous issue date: 2017-12-04 / Este Artigo oferece uma abordagem interpretativa dos Tr?s Estudos para Trombone e Piano do compositor Jos? Siqueira. Tem como objetivo, auxiliar trombonistas que queiram interpretar a Obra bem como difundi-la no meio acad?mico ? m?sica brasileira com essa forma??o, oferecer aos trombonistas op??es de repert?rio al?m daquelas de compositores estrangeiros, tendo em vista que, prevalecem nas institui??es de ensino, obras dos mesmos no repert?rio camer?stico para trombone. A Obra oferece dificuldades nas quest?es interpretativas e na sua execu??o t?cnica no movimento da vara, al?m de apresentar diversas quest?es peculiares como o uso da surdina, efeitos do glissando e ornamentos como o trinado e tremolo. A Pe?a torna-se interessante tamb?m ao evidenciar aspectos regionais da m?sica brasileira al?m de exaltar o trabalho de compositores nacionais. Vale salientar que a Obra se faz presente no repert?rio de m?sicos importantes e ? encontrada nos programas de concursos tanto para trombonistas como para co-repetidores em piano. Outro fato que deve ser ressaltado sobre os Tr?s Estudos ? que existem 3 grava??es da Obra, assim, possibilitando o instrumentista fazer compara??es no que se refere ?s quest?es que envolvem a execu??o t?cnico-interpretativa e auxiliando, dessa forma, sua compreens?o dos Estudos. Portanto, sugerem-se 4 m?todos para trombone ? Bordogni (1928), Arban (1936), Gillis (1966) e Lafosse (1928, 4 partes) ? como ferramentas para auxiliar na execu??o t?cnica do instrumento. As sugest?es interpretativas presentes nesta Pesquisa devem ser vistas como facilitadoras para futuras execu??es da Obra e n?o como requerimentos para a interpreta??o nos Tr?s Estudos. / This article offers an performing analysis for the Tr?s Estudos for trombone and piano by composer Jos? Siqueira. Its purpose is to provide technical suport for trombonists who want to interpret the work as well as to disseminate it in the academic field, whose chamber music repertoire is essentially influenced by foreign composers in Brazilian institutions. The work requires an investigation to overcome the technical difficulties such as slide action for the glissandi passages, embelishments, tremolo, and the use of mutes. This piece also highlights the regional aspects of Brazilian music ad evidences the work of national composers. Indeed, this work is found in the programs of Brazilian competitions for both trombonists and in pianists. In order to provide best technical suggestios to perform the piece, four trombone methods were used - Bordogni (1928), Arban (1936), Gillis (1966) and Lafosse (1928, 4 parts) - as well as three recordings located in Brazilian audio libraries. The interpretative suggestions presented should be seen as facilitating future works and not requiremets to perform it.

This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.

Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.

No description available.

The dissertation consists of four recitals. Three solo recitals featured a variety of selected works for bass trombone and piano by traditional and contemporary composers. The lecture recital, entitled "The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century," is a study which examines the role of the trombone, both as a solo and ensemble instrument, and the functions of the instrument in ensemble sonatas of the late seventeenth century. The trombone's use in instrumental ensembles was traced from the fifteenth century to the present. The program included selections by German composers Daniel Speer and Matthias Weckmann, and Austrian composers Autonio Bertali, Johann Heinrich Schmelzer and Heinrich Ignaz Franz Biber.

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.

The primary purpose of this thesis will be to examine the orchestration of the trombone section in the Viennese symphonies of the early Romantic period. In order to fully understand the function of the trombone section in these syphonies, a review of the trombones usage in previous centuries is in order.

Concentramo-nos neste trabalho sobre o processo transcritivo da Suíte in A minor para flauto concertato, do compositor G. Ph. Telemann, com o duplo objetivo de possibilitar a ampliação do repertório solista do trombone moderno com a transcrição de uma obra barroca, e também de apresentar a transcrição de uma obra que seja possível de execução, tanto por profissionais como não profissionais. Deve-se salientar que no período barroco, o sacabuxa, antecessor do trombone moderno, embora muito utilizado, não possuía função solística e, portanto, a literatura para o trombone não conta com obras originais para o instrumento como solista durante o período barroco. No primeiro capítulo, consta uma breve historiografia sobre o sacabuxa, suas terminologias, bem como as discussões em torno da afinação em Lá ou Sib, seu registro e repertório. O segundo capítulo discorre, de forma sucinta, sobre o compositor G. Ph. Telemann, sua biografia e produção musical, a forma Suíte e a Suíte in A minor com suas danças e características. No terceiro capítulo, buscou-se considerar sobre a ornamentação barroca, a fim de se descreverem as práticas correntes no período barroco e seu respectivo emprego ao trombone moderno. No quarto e último capítulo, foram analisados o processo de transcrição e o passo a passo da construção da performance, utilizando métodos da técnica do instrumento. Pretendemos poder acrescentar a presente transcrição à literatura do trombone na área de transcrições barrocas para o instrumento. / The transcriptional process of the Suite in A minor for flauto concertato by the composer G. Ph. Telemann, has in this paper, the dual objective of enabling both the expansion of the repertoire of the modern trombone soloist with the transcription of a Baroque work, and to present a transcription of a Baroque piece that can be played both by professionals and non-professionals. We emphasize that in the Baroque period, the sackbut, predecessor of the modern trombone, although widely used, had no soloist function, and therefore the literature for the trombone does not have original works for the instrument as a soloist during the Baroque period. This paper is divided into four chapters: the first contained a brief historiography about the sackbut, its terminology, as well as discussions around the pitch in A or Bb, register and repertoire. In the second chapter we discus briefly about the composer G. Ph. Telemann, his biography and music production, the Suite form and Suite in A minor with their dances and structures. In the third chapter, we seek to discuss the Baroque ornamentation to describe the current practices in the Baroque period and its performance by a modern trombone. In the fourth and final chapter, we analyzed the transcriptions process and the step by step construction of the performance, the methods using the technique of the instrument. It is our intention to be able to add this transcription for trombone into the Baroque repertoire for the instrument.