abstract: The purpose of this document is to identify contemporary issues facing female-identifying professional trombonists today. Interviews were conducted with three prominent women in the international trombone community, including questions that sought to foster discussion on the extent to which their experience as professional trombonists was influenced by their gender. The topic of microaggressions emerged as significant, as it became clear throughout the interview process that these women experience microaggressions far more commonly than overt gender discrimination, as did the topic of coping mechanisms. The interview questions also sparked discussions of identity, self-motivation, and local cultural norms within the context of each woman’s musical career. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Syftet med föreliggande studie är att utifrån det fenomenologiska perspektivet samt livsvärldsperspektivet intervjua trombonlärare för att ta del av deras förhållningssätt till embouchyr i deras undervisning. I bakgrundkapitlet presenteras litteratur samt tidigare forskning som är kopplat till embouchyr. Den kvalitativa intervjuformen används som metod att samla in information med interpretativismen samt konstruktionismen som epistemologi samt ontologi. I resultatet presenteras respondenternas egna upplevelser, metodik samt förhållningssätt till embouchyr. Det framkommer en gemensam syn på vilka delar som ingår i en embouchyr samt metoder och punkter som kan förhållas till i sin egen undervisning. I diskussionen diskuteras resultatet med den presenterade forskningen där det uppmärksammas en skillnad i metodik och övningar där forskningen presenterar övningar som riktar sig till äldre elever. Respondenterna presenterar bland annat övningar som kan utföras utan instrumentet, vilket kan göra specifika moment mer riktat till yngre elever. Det framkommer även en till viss del gemensam syn på vad en embouchyr är. Det råder dock inget tvivel om, ur varken forskningen eller respondenterna, att embouchyren och luft är tätt sammankopplade då ingen av dem fungerar utan den andra, dock är de inte samma fenomen. / The purpose of the present study is to, from the phenomenological perspective and the life world perspective, interview trombone teachers to take part in their approach to embouchure in their teaching. The background chapter presents literature and previous research that is linked to the embouchure. The qualitative interview form is used as a method of collecting information with interpretivism and constructionism as epistemology and ontology. The results present the respondents' own experiences, methodology and approach to embouchure. There is a common view of which parts are included in an embouchure and methods and points that can be related to in their own teaching. In the discussion, the results are discussed with the presented research where attention is drawn to a difference in methodology and exercises where the research presents exercises aimed at older students. The respondents present, among other things, exercises that can be performed without the instrument, which can make specific steps better aimed at younger students. There is also a somewhat common view of what an embouchure is. However, there is no doubt from either the research or the respondents that the embouchure and the air are closely linked as neither of them works without the other, however, they are not the same phenomenon.

Research has been conducted on Francis Poulenc and his prominent 20th century sonata for brass instruments. Poulenc and members of the French compositional collaboration known as Les Six have all been subjects of research. Francis Poulenc's Sonata for Horn Trumpet and Trombone is a crucial piece in the development of brass chamber music during the 20th century. As one of the first works written for modern brass instruments, it demonstrates a highly crafted compositional style representative of Poulenc's early period. Research includes background and historical significance of the Sonata, analysis of form and compositional techniques, biographical information on Francis Poulenc and the members of Les Six and a section on implications for the performance of the work. This study is necessary due to the lack of research available for the piece especially considering its relevance to the development of brass chamber music. This study explores the compositional style of Francis Poulenc and his contribution to the brass ensemble repertoire.

The composition 161 Glass is a 17-minute musical work with percussion, wind and brass instruments in which the intersection of mid-century architecture, and the art and culture of a dynamic city are inextricably linked. Through this paper, I explore the process of composing a musical work in relationship to the significance of site specific context. The paper begins by defining the concept of site specific art works; then reviews the discourse of the intersection of art, music and architecture. I then delve into the cultural and geographic context surrounding this project from the modern era through the present, and how those perspectives apply to the building and my piece. I reveal how the composition relates the musical ideas to the site. Finally, I describe the collaborative process between myself, the musicians and the Dallas Contemporary staff.

In recent years, the use of the cimbasso has gained popularity in Giuseppe Verdi opera performances throughout the world. In the past, the tuba or the bass trombone was used regularly instead of the cimbasso because less regard was given to what Verdi may have intended. Today, one expects more attention to historical precedent, which is evident in many contemporary Verdi opera performances. However, the tuba continues to be used commonly in performances of Verdi opera productions throughout the United States. The use of the tuba in the U.S. is due to a lack of awareness and a limited availability of the cimbasso. This paper demonstrates the pedagogical and aesthetic differences between the use of the tuba and the modern cimbasso when performing the works of Giuseppe Verdi operas.

Female trombonists are underrepresented throughout the United States especially in collegiate teaching positions. Is the underrepresentation of female trombonists as professional musicians and teachers causing less females to pursue playing the trombone? After discussing the expected roles of females and acceptable instruments for women to play during the 1800’s, this document mentions many women who were able to surpass the norms of female musicians and make their own musical choices. The purpose of this study is to discover if there is any relevance of gender bias towards female trombonists in society today and potentially determine how these biases affect their musical opportunities. This study and the survey questions were inspired by Melissa Ewing’s dissertation, Examining the Under-Representation of Female Euphonium Players in the USA, which examined the lack of female euphonium players in the United States. In order to create a trombone-centered survey, I used questions from Ewing’s survey as a guide while adding other questions to help gain useful information from trombone professors and female-identifying trombone students in the USA. The names of college trombone professors in the United States were collected from the College Music Society directory and this determined the professors who were surveyed and asked to provide their studio gender ratio and questions about identifying as female when applicable. In addition, the professors forwarded the student survey invitation to female-identifying students in their studios to provide their individual experiences as female trombonists in college. This document will serve as a resource for future studies on female-identifying trombonists and gender studies in general regarding music education and performance.

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In this project I investigate the impact of musical influences on listeners, particularly in performance and composition. The study is motivated by a personal quest to understand how musical inspirations shape proficiency on an instrument and compositional abilities. Five pieces with varied grooves, tempos, and harmonics were composed and performed on March 19, 2024, at the Royal Academy of Music in Stockholm to examine these influences. Audience feedback indicated recognizable connections to music from the 1950s and 1960s. Post-concert analysis revealed insights into the direct and indirect influences on the compositions, detailing the thought processes behind each piece. The discussion offers a comprehensive summary, linking the work to instrumental techniques and highlighting the development of skills in composition and leadership. This project has broadened my perception of composition, demonstrating increased versatility and providing new methods for future musical endeavors. / <p>Dark Keys - Erik Cappelin</p><p>Clownen Pucko - Erik Cappelin</p><p>Leach - Erik Cappelin</p><p>Song for Ture Björkman - Erik Cappelin</p><p>The Equalizer - Erik Cappelin</p><p></p><p>Medverkande musiker:</p><p>Eskil Larsson - Tenorsaxofon</p><p>Hampus Adami - Ventilbasun</p><p>Mattias Lindberg - Piano</p><p>Hugo Löf - Kontrabas</p><p>Erik Cappelin - Trummor</p><p></p>

This dissertation is an ethnography of an African American sacred music tradition – the trombone worship bands of the United House of Prayer for All People (UHOP) – that examines the ways in which musical aesthetics mediate racial and economic marginality and religious authority. Musical worship featuring these “shout bands,” involves UHOP members in an embodied performance of religious discourse, including actualizing the boundaries of sanctified interiority, confirming the charismatic authority of the organization’s sacralized leader, and constituting the independence and sovereignty of the UHOP Kingdom. The project is animated by a central question: given continuities in repertoire, performance practice, and theology between UHOP shout bands and other Black gospel practices, why is musical worship at the UHOP organized around the trombone rather than the human voice? The dissertation answers this question dialectically by showing how shout band music-making offers solutions to the ethical and theological issues members face, while UHOP theological discourse capitalizes on the sensory affordances of musical practice. The opening chapter introduces the role of the shout band in the context of UHOP worship services, framing musical practice as the enactment of sacred divisions of space and subjectivity. This chapter also depicts the feedback loop between worship practice and scriptural interpretation by introducing UHOP-specific idioms of Biblical literalism and re-enactment. Chapter two dilates on the connections between musical microsocialities and forms of authority through an analysis of the “figure of call-and-response” as a medium for the bishop’s charismatic authority. In the final chapter, I survey a variety of UHOP state-mimetic forms – that is, forms appropriated from the symbolic repertoire of the United States government – as points of entry into the ways that members actualize a shared notion of “freedom.”

In this work I have explored different ways of communicating the notated music (even in a more abstract form) to the musicians. How can I develop the aesthetics I am aiming for by using specific techniques in notation. I have also investigated how to incorporate the strengths of each improviser and whether it is possible to use these strengths as a compositional factor The group consists of a group of seven musicians playing 9 different instruments in total: trumpet, trombone, mellophonium, alto saxophone, tenor saxophone, clarinet, bass trombone, double bass and drums. During this project I wanted to make the most of composing and arranging for this particular constellation of instruments and the musicians who plays them.   The music I have written is for the most part influenced by jazz but sometimes bordering to a more classical or orchestral approach. In this project, I have challenged myself as an instrumentalist and a composer by utilizing a low C-string on the double bass. And while it made some passages more technically difficult to execute on the instrument, it has pushed me forward as a composer in wanting to explore all the different sounds and timbres available. The project resulted in a recording session at Sunnanå Studio, Sweden. / <p>Repertoar samt mediedokumentation:</p><p>1. <strong>Preludium</strong> (kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p>2. <strong>Faktiskt</strong> (kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p>3.<strong> Musikhandlaren</strong> (kompositör:Andreas Henningsson</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>4. <strong>Gikt Fever </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>5. <strong>Humoresque pour les Chats </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Mellofon, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett och Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>6. <strong>Interludium </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p></p><p>7. <strong>Three Brothers </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>8. <strong>Roll </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>9. <strong>Valse des Bois </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>10. <strong>KB Moods </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>11. <strong>Postludium </strong>(Kompositör: Andreas Henningsson och Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p>