Originally presented as the author's Thesis (Ph. D.--Catholic University of America, Washington, D.C.). / Originally published: Intonation deficiencies of wind instruments in ensemble. Washington : Catholic University of America Press, 1954. Includes bibliographical references (p. 185-191).

Thesis--University of Wisconsin. / Vita. Includes bibliographical references (leaves 512-526).

Thesis (M.M.)--University of Michigan, 1942.

In this thesis I present an overview of my approach to free improvisation with particular reference to the clarinet's instrumentality (its intended function) and its materiality (its accidental characteristics). Acknowledging an influence from the clarinet, I set out to discover its role in defining the music I make. After outlining debates surrounding improvisation in terms of its compositional capacity, I then consider free improvisation in terms of relational aesthetics. The remainder of the thesis is divided into three main parts. The first part explores philosophical and practical issues related to tool-use. In chapter one I discuss observations about objects, leading to conceptions of instrumental design. Discussing the special case of artistic tools I suggest an intrinsic link between intent and possibility, considering this relationship in terms of working with an instrument's design and materials. In chapter two I elaborate on ways in which instruments can lead towards musical material while addressing issues of culture, uncertainty and relationships. I describe a veneration of instruments as guides in free improvisation and suggest subverting traditional gestures as a strategy to advance an instrument's capacity. I address issues of uncertainty and posit failure as a viable aesthetic stance, welcoming rethought into performance. Part two sees greater emphasis placed on my own praxis. In chapter three I outline uses of the clarinet with particular focus on its materiality. In chapter four I discuss recent recordings in light of the issues raised in the thesis. This part is accompanied by a DVD (also available online1) containing examples for chapter three and recordings for chapter four. After a conclusion, which provides a summary of findings alongside a discussion of my current praxis, I present part three, a recording of a final performance made on 13/01/16 with Benedict Taylor (viola) and Daniel Thompson (guitar).

Thesis (D.M.E.)--Indiana University, 2006. / Computer printout. Includes bibliographical references (leaves 127-133) and abstract.

References to trumpeters appear in records of the Scottish royal court from the fourteenth and fifteenth centuries. During the reign of James IV, several groups of Italian minstrels came from Bologna to serve the Scottish King. The first group to arrive was a wind band, which was appointed to a permanent place at court. By the reign of James VI this ensemble had evolved into the royal trumpet corps. When James VI ascended to the throne of England and moved to London in 1603, the Scottish royal trumpeters were transferred to the English royal trumpet corps. Gradually, a royal trumpet corps was re-established in Scotland. Solo items for trumpet, performed by one of the royal trumpeters, were included in a concert presented in Edinburgh in 1695, the first concert in Scotland of which details have survived. During the eighteenth century, a number of prominent professional musicians in Edinburgh served as royal trumpeters. Several of these appear not to have played brass instruments other than to fulfil their official duties. A calendar of references to the trumpet, drawn mainly from archival sources, forms a central part of this thesis. Subsequent chapters analyse the material contained in the calendar and consider the deployment of the trumpet in a cultural context. Issues relating to terminology, patronage, repertoire and the symbolism of the trumpet are discussed. The study focuses on the use of the trumpet in royal service and provides the first detailed examination of the role of wind instrumentalists at the Scottish royal court during the sixteenth century. The ceremonial function of the trumpet is considered and, in particular, its use in funeral and judicial ceremonies during the seventeenth century. The role of the trumpet in concerts and the theatre during the eighteenth century, and the relationship between trumpet and horn playing, are examined, as is the function of the royal trumpet corps as a source of patronage for the Edinburgh Musical Society.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on December 13, 2007) Vita. Includes bibliographical references.

The problem addressed by this study was the search for ways to relate knowledge of wind instrument playing methods to the study of voice. The purpose of the study was to examine historical and contemporary brass and woodwind teaching sources to determine whether allusions to the vocal art were documented by reputable wind teachers.The ninety-one available sources were written between 1545 and 1981, and included books, treatises, periodicals, and other studies written by scholars, musicians, and teachers from Europe, Asia, and North America. Allusions to the vocal art appeared in eighty percent of the sources studied and occurred with nearly equal frequency in brass and woodwind sources.The study revealed both direct and indirect allusions made in reference to such matters as the relationship of wind instruments to voice, breathing and breath control, tone production, facility, and musicianship.ConclusionsBased on the finding that numerous allusions to the vocal art have been documented in wind instrument pedagogical sources, the following conclusions are drawn:1. A very close relationship exists between the wind instruments and voice.2. A common body of pedagogical theories may be found in vocal and wind instrument teaching methods.3. These theories have been used by wind pedagogues to teach wind instruments.4. A preparatory background in the study of voice and singing methods provides a desirable foundation for the study of wind instrument playing.5. Many authors, it would appear, assume that the wind instrument student already possesses a functional knowledge of the art of singing.

Thesis (Ph.D.). / Written for the Computational Acoustic Modeling Laboratory, School of Music. Title from title page of PDF (viewed 2008/01/12). Includes bibliographical references.

Thesis (doctoral)--Ruprecht-Karl-Universität zu Heidelberg, 1980. / Bibliography: p. 223-253.