Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 5 recitals, recorded Oct. 28, 2002, Mar. 29, 2004, Sept. 8, 2005, Sept. 9, 2005, and Mar. 9, 2008. Includes bibliographical references (p. 61-67).

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by recitals, recorded Mar. 29, 1999, Jan. 29, 2001, Nov. 5, 2001, Nov. 4, 2002, and Apr. 12, 2004. Includes bibliographical references (p. 48-55).

Vallflickans dans (from Bergakungen) / Hugo Alfven -- Apres un reve / Gabriel Faure -- Euphonium concerto / Vladimir Cosma -- Piece en forme de habanera / Maurice Ravel -- Concert piece no.1 / Joseph Turrin -- Elegy / John Stevens -- Brilliant fantasy / Jean-Baptiste Arban. / text

Eine kleine Nachtmusik / W. A. Mozart -- Benediction / John Stevens -- When tubas waltz / Alfred H. Bartles -- Prelude and dance / Gregory Fritze -- Pop suite / Arthur Frackenpohl -- Dances / John Stevens -- A superhero suite / Ben Hackett. / text

Concerto in B-flat major / Wolfgang Amadeus Mozart -- Diversions / John Stevens -- Euphonium concerto / Vladimir Cosma / text

The euphonium has been a respected member of military bands, brass bands, and civilian concert (wind) bands since its invention in 1843. These bands were very visible to the public, and often performed popular music of the day. Since then, the euphonium has had occasional use in orchestral works, jazz, and in brass chamber groups as well. However, by the middle of the 20th century, its traditional use as an instrument of the wind band resulted in a prevailing attitude of the music world toward the euphonium as an instrument strictly for that purpose. This attitude, along with changing popular tastes in music, has over time caused professional opportunities for euphoniumists to become very limited. This lack of public expose for the instrument has therefore resulted in people outside of wind band experience being unaware of the euphonium's existence. There have been, however, positive signs in the last thirty years that changes are taking place in prevailing attitudes toward the euphonium. The formation of the Tubists Universal Brotherhood Association (renamed the International Tuba Euphonium Association in 2000) as a supportive professional organization, the emergence of the tuba/euphonium ensemble as chamber music, new solo works by major composers, and the use of euphonium in nontraditional ensembles have all served to promote the instrument. The future of the euphonium will depend on exploring the possibilities of using the instrument in non-traditional ensembles, and on changing the way euphonium is taught in a way that will adjust to the changing musical climate.

Sonata in F major / Benedetto Marcello -- Rhapsody for euphonium / James Curnow -- Harlequin / Philip Sparke -- A walk in the woods / Jiro Censhu -- Pantomime / Philip Sparke -- Shapes in bronze / Walter Ross. / text

In current tuba and euphonium writing there is considerable gap in technical difficulty between tuba-euphonium quartet literature and wind band literature for the secondary and collegiate musician. As the tuba and euphonium profession becomes ever more challenging, there is a great need to establish a curriculum for building technical facility. The importance of chamber music as a pedagogical tool is well documented and has been shown to develop technique, musicianship, and many other skills. There are a number of researchers whose work demonstrates the numerous benefits of including chamber music to students' education. However, because of the lack of small ensembles for tuba and euphonium players there is a need to utilize the tuba-euphonium quartet. This study provides a brief history of the tuba-euphonium quartet to give context to one of music's newer chamber groups. Selected works for both wind band and tuba-euphonium quartet are graded with a rubric to assign an appropriate difficulty level. An analysis of the selected works gives educators examples of how to take advantage of each work's unique technical aspects. Included in the appendices are grading breakdowns of fifty wind band compositions and forty-three tuba-euphonium quartet works.

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2004. / "A thesis in music history and literature." Typescript. Advisor: William Everett. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 104-108). Online version of the print edition.

Etudes and method books played had an important role in teaching technique and musicality for all musicians. Euphonium players have been using pedagogical materials originally written for other brass instruments such as trumpet, cornet, and trombone. Those materials have been very effective in helping euphoniumists learn skills to play idiomatic nineteenth and early twentieth century repertoire. In recent years, many solo pieces for euphonium demanding advanced techniques have been composed. The difficulty of these solo works for euphonium has increased dramatically in the second half of the twentieth century. Traditional etudes and method books do not cover all the necessary techniques to play this modern repertoire. In the last two decades, many collections of etudes have been written specifically for euphonium, and several of them are technically challenging and aimed at advanced euphoniumists. This trend can be seen in the United States, France and England. In this paper, traditional standard pedagogical materials currently used by euphoniumists will be evaluated. Recent publications of pedagogical materials written exclusively for euphonium after 1990 will be introduced, and effective uses of old and new pedagogical materials for current euphonium players will be presented. An annotated list of the latest etudes composed exclusively for euphonium will be provided at the end.