Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 26, 2001, Nov. 18, 2002, Apr. 7, 2003, and Feb. 25, 2008. Includes bibliographical references (p. 40-43).

Thesis (M.M.) Florida State University, 2003. / Advisor: Bentley Shellahamer, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 95 pages. Includes biographical sketch. Includes bibliographical references.

Wayne Barrington was a tenured member of the Chicago Symphony Orchestra for ten years and held positions with the LA Philharmonic, Pittsburgh Symphony, and San Antonio Symphony. He was an early member of the Chicago Brass Ensemble and a founding member of the LA Brass. While performing in these major orchestras and brass quintets, Barrington played alongside many notable musicians including Philip Farkas, Forrest Standley, Arnold Jacobs, Bud Herseth, Frank Crisafulli, Miles Anderson, Roger Bobo, David Krebhiel, and Christopher Leuba. Many of these musicians mentioned have received recognition in books and dissertations for their achievements as performers and pedagogues. Barrington, however, has not. Barrington was also a founding member and secretary of ICSOM, the International Conference of Symphony and Orchestra musicians. This organization helped improve the working conditions for musicians by creating transparency of orchestra salaries and giving musicians throughout the United States and Canada a say in ratifying their contracts. After Barrington's years as a symphonic musician, he transitioned from a full-time performer to a full-time pedagogue and taught for over three decades at the University of Texas at Austin, and several of his students went on to have successful careers of their own. His impressive career and influence are noteworthy. This lecture and the accompanying dissertation serve to pay tribute to the life and career of Wayne Barrington by offering a biography of his professional playing positions, union activism, teaching philosophy, and impact on several of his colleagues and students.

No description available.

The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonc. This study details the introduction of sound tracks, the early studio orchestras, the contact studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonicand the studios, major figures from the subsequent freelance perios such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.

Thesis (M.A.)--University of California, Santa Cruz, 1994. / Typescript. Includes bibliographical references (leaves 152-155).

This study documents the career of Joseph Eger (b. 1920), who had a short but remarkable playing career in the 1940s, 1950s and early 1960s. Eger toured the United States and Britain as a soloist with his own group, even trading tours with the legendary British hornist, Dennis Brain. He recorded a brilliant solo album, transcribed or arranged several solos for horn, and premiered compositions now standard in the horn repertoire. He served as Principal Horn of the New York Philharmonic, Los Angeles Philharmonic, and the National Symphony. Despite his illustrious career as a hornist, many horn players today do not recognize his name. While Eger was a renowned horn soloist in the middle of the twentieth century, he all but disappeared as a hornist, refocused his career, and reemerged as a conductor, social activist, and author. This dissertation seeks to be the long-overdue comprehensive documentation of Eger's career as the first American horn soloist and his contributions to the world of horn playing. First, a biography of Eger is presented, focusing especially on his education and career as an orchestral player, soloist, and recording artist, including its intersections with the lives of many prominent musicians and personalities of the twentieth century. A personal interview provided most of this information. An examination of what is perhaps Eger's greatest and most lasting contribution, his solo album, Around the Horn, will follow. A discussion of this recording and his Grammy-nominated chamber music album will provide insight into the high quality of his horn playing and the breadth of his repertoire. Finally, Eger's transcriptions and editions of pieces for solo horn and the pieces that were premiered or composed for him will be listed and discussed.