Abstract not available. / Thesis (M.A.)-University of Durban-Westville, 1989.

Gunther Schuller is presently one of America's most influential music personalities. As one colleague of Schuller's at the New England Conservatory has written, "In many ways, Gunther Schuller is a modern incarnation of the renaissance man, with his interests and abilities flowing from him like ripples in a pond."1 Schuller, in his six decades, has been one of the nation's first-rate orchestral horn players and has participated in the instrument's introduction into the jazz medium; his interest in musicological research has encompassed the study of various types of music and resulted in Early Jazz: Its Roots and Musical Development, 2 considered by some to be "the definitive musicological treatment of jazz history . . ..”3 Schuller is also recognized as a leading contemporary composer and conductor, former composition instructor and long-time artistic co-director of the annual summer Tanglewood Festival, and teacher, authority, and author on horn playing.The dissertation traces Schuller's varied career, giving particular attention to his phenomenal success as a virtuoso of the French horn by age seventeen. The study also details his development as a composer, concentrating primarily on his compositional style as revealed in the works for horn as a solo and chamber music instrument. Among the works discussed are the horn concertos, the woodwind suite and brass quintet, Lines and Contrasts for sixteen horns, and Five Pieces for Five Horns. Included in the discussion is his unpublished and virtually unknown first Horn Concerto, which was written (and performed only once) by the composer while he was first horn in the Cincinnati Symphony. For the research, a copy of the manuscript was provided by the composer. (To date, the only published remnant is an arrangement of the second movement entitled Nocturne for horn and piano.)The dissertation examines Schuller's ideas concerning the "art" of modern horn playing through a discussion of his writings (Horn Technique), his musical studies (Studies for Unaccompanied Horn and Duets for Unaccompanied Horns), and through the observations of colleagues and former students. Fortunately, some of Schuller's well-articulated thoughts on musicianship in general and horn playing specifically have been retained in the tapes of the Sixth Annual International Horn Workshop, held at Ball State University in 1974. These are transcribed and included in the Appendix.In summary, the research is in three major sections. The first deals with biographical information-- Schuller's various careers, a survey of his compositions and writings, and a discussion and evaluation of his playing career based on information from his colleagues, recordings, and reviews. Section two examines the composer’s style and his influence on the instrument’s technique through a detailed study of the solo and chamber works for horn. Part three concerns his pedagogical and philosophical ideas regarding music education, with particular attention to the horn and horn playing.1. Frank Battisti, "Gunther Schuller and His Many Worlds of Music," The Instrumentalist, XXXII (June, 1978), p. 39.2. Gunther Schuller, Early Jazz: Its Roots and Musical Development, (New York: Oxford University Press), 1968.3. Robert Palmer, "Gunther Schuller: On the American Musical Melting Pot," Downbeat, XLIII (Feb. 12, 1976), 12.

In a public lecture given by Gunther Schuller in 1957, the term 'third stream music' was suggested as a way of describing the combination of 'first stream music' (Western classical) and 'second stream music' (American jazz) within a musical work. 'Third stream' was proposed as a term to denote the fusion of

This Master's thesis focuses on the specific features and phenomena in the Czech third stream in the 1960s. These specifics are identified, on the one hand, through the analysis of Karel Velebný's third streams compositions, but also through their comparison with third stream works by other Czech authors in the observed period. The resulting characteristic of the Czech third stream is then confronted with the third stream of an American author and ideological founder of this style movement, Gunther Schuller. The criterion for the inclusion of the analyzed compositions in this thesis was the presence of a certain avant-garde ambition, which, in this thesis, is understood as the use of dodecaphony or other New music compositional techniques in the context of jazz music. In the analysis, the thesis focuses on the way these compositional techniques were implemented into the structure of jazz music, but the author also observes which musical components are through this stylistic synthesis modified the most. Key words: Third stream, jazz, Karel Velebný, Pavel Blatný, Gunther Schuller

The trumpet has always maintained a central role in the jazz genre. However, throughout the history of chamber music the trumpet was overlooked until the mid-twentieth century when brass chamber music and mixed chamber ensembles rose to popularity. An infiltration of the popular American style, jazz, into classical chamber music changed composers' treatment of the trumpet. This thesis focuses on the role and treatment of the trumpet in selected jazz-influenced classical chamber works in order to highlight that the trumpet's prominence in jazz helped to establish its place in twentieth-century chamber music. A brief history of classical brass chamber music and the origins and development of jazz is given. Trumpet performance techniques and compositional practices idiomatic to the different jazz style periods, ranging from ragtime to cool jazz, are given. These techniques are then traced through selected chamber music works of Stravinsky, Martinu, Schuller, Babbitt, and Wilson. Selected works were chosen based on the degree of jazz influence and are representations of the jazz style period they emulate. A comparison of how classical composers in Europe and the United States viewed the trumpet in jazz, in regards to chamber music, is detailed over the course of the twentieth century.

Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.

[EN] Doctoral thesis: Third stream jazz: influence on the current scene of jazz in Valencia. Abstract: The dialectic between classical music and jazz schools is a long-standing issue; which would need a historical revision due to the recent addition of the higher education of jazz at the conservatory of Valencia, which operate in parallel way looking each other with suspicion. In the second half of the 20th century Gunther Schuller coined the term third stream to define a new aesthetic somewhere between jazz and contemporary classical music, since the beginning of century XXI is taking root with force in the current landscape of the Valencian's jazz. Since the work with strings ensembles of Daniel Flors and David Pastor, the approach to the jazz of the brass quintet Spanish Brass Luur Metalls, the recreations of the work of Impressionist composers by Ximo Tébar and Daniel Picazo, Diego de Lera and Felipe Cucciardi's Trío, the inclusion of new orchestral templates to the jazz ensembles by Albert Sanz and his Russafa Ensemble, the emergence of the symphonic music of Jesús Santandreu purely third stream, the fusion of the Valencian's traditional music with jazz of Ramón Cardo and the large format of Perico Sambeat's choral jazz, Valencian's jazz, as a symptom of modernity, are taking a new direction which claims a new status to the same level as the classical music concert. The main conclusion of this study tries to stress the obvious approach of our local jazz to contemporary classical music in this first decade of the century XXI as a symptom of modernity: an approach that coincides historically with the incorporation of the jazz studies at the conservatory of Valencia. / [ES] Tesis doctoral: Tercera corriente jazzística (third stream): influencia en el panorama actual del jazz en Valencia. Resumen: La dialéctica entre escuelas de música clásica y jazz es un tema ya antiguo; que por otro lado necesitaría de una revisión histórica a la vista de la incorporación de los estudios superiores de jazz en el conservatorio de Valencia, puesto que ambas corrientes se desenvuelven de un modo paralelo mirándose aún con recelo. En la segunda mitad del siglo XX Gunther Schuller acuñó el término third stream para definir una nueva estética a medio camino entre el jazz y la música clásica contemporánea, que desde principios del siglo XXI se está arraigando con fuerza en el panorama actual del jazz valenciano. Desde los trabajos con ensembles de cuerdas de Daniel Flors y David Pastor, el acercamiento al jazz del quinteto de metales Spanish Brass Luur Metalls, las recreaciones de la obra de compositores impresionistas por parte de Ximo Tébar y del Daniel Picazo, Diego de Lera, Felipe Cucciardi Trío, la inclusión de nuevas plantillas orquestales a los ensembles de jazz por parte de Albert Sanz y su Russafa Ensemble, la eclosión de la obra sinfónica de Jesús Santandreu netamente third stream, la fusión de la música tradicional valenciana con el jazz de Ramón Cardo y el jazz coral de gran formato de Perico Sambeat, el jazz valenciano, como síntoma de modernidad, está tomando un nuevo rumbo que reivindica un nuevo estatus al mismo nivel que la música clásica de concierto. La conclusión principal del presente trabajo trata de recalcar el evidente acercamiento de nuestro jazz local a la música clásica contemporánea en esta primera década del siglo XXI como síntoma de modernidad: un acercamiento que coincide históricamente con la incorporación de los estudios superiores de jazz en el conservatorio de Valencia. / [CA] Tesi Doctoral: Tercer corrent jazzístic (third stream): influència en el panorama actual del jazz a València. Resum: La dialèctica entre les escoles de música clàssica i el jazz és un assumpte ja vell. D'altra banda seria necessari una ressenya històrica davant la incorporació dels estudis superiors de jazz en el conservatori de València, ja que ambdós corrents es desenvolupen d'una manera paral·lela mirant-se fins i tot amb recel. A la segona meitat del segle XX Gunther Schuller va encunyar el terme third stream per definir una nova estètica a mig camí entre el jazz i la música clàssica contemporània, que des de principis del segle XXI està arrelant amb força dins del panorama actual del jazz valencià. Des de l'obra amb conjunts de cordes de Daniel Flors i David Pastor, l'aproximació al jazz del quintet de metall Spanish Brass Luur Metalls, les recreacions de l'obra dels compositors impressionistes per Ximo Tébar i el Daniel Picazo, Diego de Lera, Felipe Cucciardi trio, la inclusió de noves plantilles orquestrals a les formacions de jazz per Albert Sanz i el seu Russafa Ensemble, l'eclosió de l'obra simfònica de Jesús Santandreu purament third stream, la fusió de la música tradicional valenciana amb el jazz de Ramón Cardo i el jazz coral de gran format de Perico Sambeat, el jazz valencià, com a símptoma de modernitat, està prenent una nova direcció que reclama un nou estatus al mateix nivell que la música clàssica de concert. La principal conclusió d'aquest estudi pretén emfatitzar l'aproximació evident del nostre jazz local a la música clàssica contemporània en aquesta primera dècada del segle XXI com a símptoma de modernitat: una aproximació que coincideix històricament amb la incorporació dels estudis superiors de jazz al conservatori de Valencia. / Pruñonosa Furió, J. (2016). Tercera corriente jazzística (third stream): influencia en el panorama actual del jazz en Valencia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/74246

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