Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 187-199). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 62-67). Also available on the Internet.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Dennis AsKew; submitted to the School of Music. Title from PDF t.p. (viewed Aug. 25, 2009). Includes bibliographical references (p. 124-146).

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 62-67). Also available on the Internet.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Title from PDF t.p. (viewed May 11, 2010). Directed by Randy Kohlenberg; submitted to the School of Music. Includes bibliographical references (p. 76-81).

The serpent, an extinct musical instrument, was important to the development of contemporary low brass. Its characteristics, performance problems, and literature give insight into its development as well as reasons for its ultimate demise and replacement with technically more advanced instruments.

The purposes of this study are to identify and describe the function and control of facial muscles as related to sound production on brasswind instruments, to explore electromyographic theory and techniques with particular regard to the function and control of facial muscles, to identify basic theories of embouchure among brasswind teachers and performers, to develop a theory of brasswind embouchure based upon the preceding factors, and to propose recommendations with regard to brasswind pedagogy. Existing theories of embouchure were investigated by reviewing the extensive brasswind pedagogical literature, and by interviewing teachers representing two widely differing views. Electromyographic kinesiology of facial muscles was investigated as follows: a description of facial muscles was formulated by collating anatomy books; related electromyographic literature was reviewed; eloctromyographic recordings of facial muscled during, the performance of various facial muscle tasks and during brasswind performance were made using indwelling fine-wire electrodes. The following fundamental questions were raised: (1) What are the elements of brasswind embouchure, and what is the effect of each upon performance? (2) Is there a single embouchure mode which may be considered most efficient, and if so, what facial muscles are involved, and how may they be trained?

Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

The significance of the application of valves to brass instruments will be better understood by a brief discussion of conditions immediately preceding this innovation.

Traditions in orchestration can be described by relating the practices of most of the important composers of a particular time. This was done with great success by two composers of the nineteenth century, Hector Berlioz and Nicolai Rimsky-Korsakov, in their books on orchestration. These texts are the basis for the traditional uses of brass instruments appearing in the chapter.