Thesis (M.A.)--University of California, San Diego, 2008. / The 2nd work for piano, amplified guitar, baritone saxophone, and tuba. Accompanying disc is DVD-ROM, and contains sound files of recordings of works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 8:00 ; ca. 6:00 ; ca. 11:00-12:00. Explanatory or program notes precede each work.

The lecture recital was given on June 16, 1980. The Ralph Vaughan Williams Concerto for Bass Tuba and the Paul Hindemith Sonate for Tuba and Piano were performed following a lecture on the historical evolution of the tuba in Europe. The lecture included a history of the predecessors of the tuba and their influence on the development of tuba playing traditions. Tuba performance practices in Europe developed around two playing traditions, one in France and England, and a second in Germany. The ophicleide enjoyed tremendous popularity in France and England during the early nineteenth century. Because this instrument was a major competitor of the tuba in these countries, the tuba was viewed as an ophicleide replacement. Tubists in Europe and England had to develop facility and sound quality equivalent to that of the older instrument. In Germany the tuba's main competitor was the Russian bassoon, a form of upright serpent. At this same time the serpent and its related forms were in decline. This lack of popularity with the older instruments provided an opportunity for the quick adoption of the tuba in Germany.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Reciprocity / James Meador --Sang till Lotta / Jan Sandstrom -- Tuba concerto / John Williams -- Vier ernste Gesange / Johannes Brahms -- The dern / Dennis Llinas. / text

Lecture: "Re-implementing the bass tuba in wind ensemble literature" -- Hungarian march / Hector Berlioz -- Concerto for bass tuba / Ralph Vaughan Williams -- Toccata Marziale / Vaughan Williams -- Lincolnshire posy / Percy Grainger -- Symphony no.19, op.46 / Nikolai Miaskovsky -- Symphony in B-flat / Paul Hindemith. / text

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 17, 2002, June 14, 2004, Oct. 18, 2004, and Nov. 26, 2007. Includes bibliographical references (p. 30-32).

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Dennis W. AsKew; submitted to the School of Music. Includes bibliographical references (p. 45-48).

In 2003, Jan Bach completed his monumental Concerto for Tuba and Chamber Orchestra. This concerto requires unique performance techniques and technical skills unlike the majority of available tuba repertoire. In addition to these techniques, the guide explores the influence of popular songs, jazz/rock/funk styles, implied humor, and personal experience through an interview with the composer.

No description available.

As a professional tubist, I have found that the skills I acquired by participating in a tuba/euphonium ensemble (TEE) have helped me in my career. This dissertation explores different aspects of the TEE and how they affect the musicianship and wellbeing of students. Chapter 1 reviews the historical context of TEE, from the earliest like-instrument brass ensembles in the United States to the origins of TEE in American universities. Chapter 2 explores collaborative learning, a practice that is focused on the creation of knowledge rather than outcomes, and how it benefits student wellbeing. This is followed by an explanation of different pedagogical techniques that are useful when teaching a TEE. Chapter 3 discusses the competencies set forth by the National Association of Schools of Music (NASM) and how a TEE course can meet those competencies, followed by a questionnaire sent to tuba/euphonium students and professors around the United States regarding the value of TEE. The results of this questionnaire suggest that TEE is viewed as a valuable part of a collegiate music education. Chapter 4 puts previously stated ideas into practice by outlining necessary steps to running a TEE as an instructor and considering extramusical factors like syllabi and university policies. The dissertation ends with reflections on the benefits of TEE.