<p>In this survey I have been trying to find out which factors influence the students’ choice of instrument. I hope to, through the results, gain knowledge about how to reach interested students in my future work as a trombone educator.</p><p>I have let 15 students that have played trombone in the County Music Academy one to three years, answer my inquiry concerning their choice of instrument. The students’ parents were also asked to give an explanation to what they think made their child play the trombone and whether they tried to influence their child in the choice of instrument. The answers show clearly that these parents have not influenced their children’s choice of instrument and that the impression you and I as a teacher give during the first session seems to be of great importance.</p>

In this survey I have been trying to find out which factors influence the students’ choice of instrument. I hope to, through the results, gain knowledge about how to reach interested students in my future work as a trombone educator. I have let 15 students that have played trombone in the County Music Academy one to three years, answer my inquiry concerning their choice of instrument. The students’ parents were also asked to give an explanation to what they think made their child play the trombone and whether they tried to influence their child in the choice of instrument. The answers show clearly that these parents have not influenced their children’s choice of instrument and that the impression you and I as a teacher give during the first session seems to be of great importance.

Felleskap for two tubas / James D. Thornton -- Fantasy for flute and tuba / Ben Miles -- Duo for bass trombone and tuba / Ron Newman -- Morgenmusik / Paul Hindemith -- Two Miniatures / Matt Hightower -- The carnival of Venice / J. B. Arban. / text

Although traditional methods of teaching brass embouchure tend to favor a more centered mouthpiece placement, individual differences in facial structure may make a centered placement inefficient for many individuals. Thirty-four test subjects (N = 34) who volunteered from a mid-sized, Midwestern university school of music, a mid-sized Midwestern high school, and professional and semiprofessional trombonists from around a Midwestern state were tested for an efficient embouchure and then photographed while playing specific pitches into a transparent plastic mouthpiece. Additionally, each subject filled out a brief survey and had various facial characteristics photographed. Statistics from this data suggest that the three basic types defined by Doug Elliott, Very High Placement Type, Medium High Placement Type, and Very Low Placement Type, are accurate. Evidence also suggested that airstream direction and the use of an embouchure motion is dependant on vertical mouthpiece placement. The angle of the airstream also changes according to the register being played. It was also determined that certain physical characteristics, most notably lip protrusion, suggested that a subject will play with a specific mouthpiece placement. / School of Music

abstract: The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground. / Dissertation/Thesis / Video File of Al Grey's Accompaniment to Joe Williams on "It's a Low Down Dirty Shame" from Astaire Time (1960) / Video File of Al Grey's Solo on Okay with Jay from Sitting In with Buddy Rich (1986) / D.M.A. Music 2011

124 f. / Submitted by Rodrigo Meirelles (rodrigomei@ufba.br) on 2012-04-13T20:37:58Z No. of bitstreams: 1 Vecchia2008dissertação.p df.pdf: 647248 bytes, checksum: 8390f3c05532916f61bf737d2555c59d (MD5) / Made available in DSpace on 2012-04-13T20:37:58Z (GMT). No. of bitstreams: 1 Vecchia2008dissertação.p df.pdf: 647248 bytes, checksum: 8390f3c05532916f61bf737d2555c59d (MD5) Previous issue date: 2008-02-29 / No Brasil as bandas de música são importantes formadoras de instrumentistas de sopro e percussão. É preciso conhecer melhor seus processos de ensino-aprendizagem e, assim, ampliar questões relativas às suas práticas pedagógicas. Este trabalho tem como tema os fundamentos de se tocar instrumentos de metais, mais especificamente trompete, trompa, trombone, bombardino e tuba. Os sujeitos da pesquisa são professores regentes de bandas que utilizam o método elementar para o ensino coletivo de instrumentos de banda Da Capo (2004). Este trabalho buscou investigar quais fundamentos eles ensinam, quais são suas concepções sobre estes fundamentos, como eles os ensinam e como esse processo pode ser aprimorado. Os fundamentos pesquisados foram respiração, embocadura, postura e emissão do som, cujas iniciais formam o “REPE”. A metodologia de pesquisa qualitativa de natureza descritiva foi utilizada. Adotou-se o delineamento de estudo de campo, basicamente desenvolvido por meio de observações acompanhadas de anotações em diário de campo. Foram realizados também questionários com professores e alunos que utilizam ou utilizaram o referido método. Concluiu-se que os fundamentos de respiração, embocadura, postura e emissão do som são os mais utilizados por estes professores e que suas concepções sobre estes não discordam da bibliografia atual. Contudo, a maioria destes professores expressa profunda diversidade de técnicas e estratégias de ensino. Como proposta de aprimoramento do processo de ensino-aprendizagem do REPE (fundamentos) em contexto de ensino com o Da Capo, este trabalho apresenta o roteiro de um tutorial em vídeo que pode auxiliar alunos e professores na fixação dos princípios necessários para tocar instrumentos de metal. / Salvador

abstract: The canon of music performed in recitals by American trombonists contains very few works for trombone by composers from Russia and the Soviet Union. Trombonists in the United States periodically perform trombone solos by Nikolai Rimsky-Korsakov, Alexei Lebedev, Vladislav Blazhevich, Gregory Kalinkovich, Alexander Tcherepnin, and Eugene Reiche. But these works represent a very small percentage of trombone solos performed in recitals in the United States, and compositions written after 1960 by composers in the U.S.S.R. are completely absent from recital programs. The purpose of this project is to identify several Soviet-era compositions for trombonists that are worthy of introduction into trombone recital programs in the West. To support the thesis that Soviet-Russian trombone music has been disproportionally under-represented in American recital programs, a survey of over 3300 trombone recitals given in the United States from 1972 to 2013 was conducted. Once a body of significant works that had previously not been performed on American trombone recitals was identified, they were acquired, analyzed, and several were performed. The following compositions represent a list of Soviet-Russian solos not programmed on any of the 3300 recitals: German Grigoryevich Okunev, Adagio and Scherzo; Gregory Markovich Kalinkovich, Concertino for Trombone; Pavel Davidovich Saliman-Vladimirov, Concertino for Trombone; Vadim Veniaminovich Kulyov, Concertino for Trombone; Vladislav Alexanderovich Uspensky, Concertino for Trombone and Orchestra; Sergei Vasilyev and Vladimir Robertovich Enke, Concerto for Trombone and Orchestra; Sergei Borisovich Chebotaryov, Rondo for Tuba; Victor Nikolaevich Smirnov, Scherzo; Alfred Garievich Schnittke,“Schall und Hall”;and Tatyana Alexseyevna Chudova, Sonata for Trombone. / Dissertation/Thesis / Doctoral Dissertation Music 2015

The United House of Prayer was established by Marcelino Manuel da Graça (1881-1960), who is also known as Charles Manuel “Sweet Daddy” Grace, or “Daddy” Grace. He founded and developed the use of the shout bands which are charismatic gospel trombone ensembles within this church. This study explores the importance of shout bands and examines them from multiple perspectives focusing in particular on worship practices. Additionally, it examines rhythmic elements as the most important characteristic of music performed by these unique ensembles, rhythms that reflect the preacher’s personal timing and inflections that the trombones then imitate. The approach used here supports a deeper understanding of the United House of Prayer and of the trombone in church services of this denomination. Indeed, it ultimately establishes the trombone’s role in the United House of Prayer.

This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) . Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.

During his tenure as the professor of trombone at the Paris Conservatory, Andre Lafosse wrote the Traite de Pedagogie du Trombone a Coulisse addressing trombone pedagogy that was to be studied in conjunction with his method and etude books, Methode Complete de Trombone and Vade Mecum du Tromboniste. The pedagogic philosophy reflects Lafosse's own experiences as an orchestral musician in France in the early 20th century. Lafosse designed and used his treatise to prepare students to be effective teachers after their graduation from the Conservatory. The scope of preparation for Lafosse's trombone class, however, was limited. He did not attempt to provide a text or tutor that would prepare trombonists for any career in music: Lafosse was primarily concerned with orchestral trombone playing, as reflected in musical exercises, instrument designation, and repertoire references. Solo performance skills are also explained at length in his treatise, and Lafosse includes his own solo transcriptions in the curriculum. This emphasis placed on performing as a soloist appears to oppose Lafosse's implied preference for orchestral performance. Throughout his career as a trombone professor Andre Lafosse compiled and wrote music that emphasized elements of trombone technique based on the French solo and orchestral repertoire. His primary concern as a teacher was developing the skills for an orchestral career in France, but his method was to use exercises that focused on certain technical aspects of trombone performance. The exercises and etudes chosen were all influenced by French music regarding the skills deemed important by Lafosse (i.e. those required by the French orchestral and solo repertoire) and the acoustic design of the trombone in France in the early 20th century. Considering the holistic context of Lafosse'ss role at the Paris Conservatory, Lafosse's curriculum and methodology should be deemed appropriately designed for the best interest of the students. In the following pages the implications of Lafosse's philosophy will be explored in order to understand the basis for his ideas, and his pedagogic approach will be evaluated in the context of the mid 20th century. The purpose of these endeavors is to discover Lafosse's reasoning and its appropriateness within a synchronic context.