Very few Latin American pieces for trombone as a solo instrument have entered the canon of trombone repertoire worldwide, despite the large number of compositions in this medium. Therefore, when a major composer writes a full sonata for trombone efforts need to be made to bring these compositions to light. The Argentine composer Carlos Guastavino wrote a sonata for trombone and piano that is virtually unknown outside of Argentina, despite the composer’s importance. He is known for his artistic choice of cultivating a traditional romantic style of composition apart from the new tendencies and influences of the artistic novelties of the twentieth century. Guastavino’s artistic position is very clear in the sonata’s highly strict formal organization and Guastavino’s unique treatment of tonality and modality. He was also loyal to his own style as composer, which is ultimately an Argentine song style. He utilized the lyrical qualities of the trombone to convey the type of melodic approach that he used in his vocal works. This paper investigates the Argentine song and Western sonata conventions featured on Carlos Guastavino’s Sonata para Trombón o Trompa y Piano. The paper argues that these features represent his unique approach to musical composition in the twentieth century, thus making this sonata an important addition to the trombone repertoire.

The topic of this dissertation thesis discusses the methodology of playing the trombone for beginners. This work is based on a long tradition of the Czech trombone school and describes the development from the beginning of this tradition to the present. The work is divided to three main chapters. The first part is devoted to the history of music teaching in Bohemia and Moravia. This chapter also introduces the biggest personalities and teachers of trombone in Bohemia and Moravia. The second part is devoted to personalities who greatly influenced the Czech trombone school and trends as well as my attitude to metodological approaches. In following subchapters personalities who inspired my opinion to the education of childern are introduced. The last subchapter is devoted to Hatha yoga, one of the main inspirational aspect during my studies. The third part introduces a new methodology of playing the trombone for beginners. This work is particularly concerned about the understanding of the important functions of the player's body such as a proper breathing, a muscle function, a musculoskeletal function and their interplay into one harmonious whole. A single subchapter is devoted to each of this element. I mention here also a question of a personality of a teacher and a connection between children and art

In my diploma thesis I give an overview and information about the international trombone competitions. First chapter is reserved for European competitions. There are mentioned some facts like time intervals after which are the competitions repeated, time periods and locations of performance, entrance conditions and information about the organisers. Second chapter is organised in the same way and includes the competitions outside Europe. In the third chapter are implemented brief biographies of the current most sought-after jurors of the interpretative competitions.

This thesis deals with the contemporary world's top trombonist from global perspective. It is structured into five chapters by the place of birth of artists. Benefits of this thesis are explained in the conclusion.

This work are processed unreleased and unpublished findings of prof. Jaroslav Ušák supplemented with modern knowledge. The technology of a trombone is broadly conceived theme, but if we set aside just one sector, the picture would be incomplete and perhaps even nonsensical. It deals in detail with the construction of the instrument, its production and its difficulties, but also the difficulties of emboucher or a mechanical improvements. It also contains a short chapter about mutes.

This magister thesis Prague Symphony Orchestra FOK and its brass section is divided into four chapters. The first chapter deals with the development of the orchestra since its foundation up to the present. The chapters from the second to the fourth focus on the brass section including the detailed artistic curriculum vitas of the current musicians. The second chapter is concentrated on the members of the trombone section (including also two members that play tube). The third chapter deals with the trumpet section while the fourth chapter deals with the section playing French horn.

La presente tesis profundiza en el estudio de la impedancia del trombón de varas y su aplicación en el aula de viento metal con la finalidad de agilizar el aprendizaje significativo de los alumnos de la especialidad de trombón. Aunque, estos resultados son extrapolables al resto de aerófonos de la familia de viento metal. Para la investigación realizada sobre la impedancia del trombón de varas y otros instrumentos de la familia de viento metal se han tenido en cuenta los principales factores o elementos que delimitan la calidad sonora de estos instrumentos. Por ello, se estudia cómo afectan la boquilla, el cuerpo del instrumento y la campana en el sonido del instrumento. También, se responden a cuestiones importantes para los intérpretes de viento metal como: cuánto influye en el sonido del instrumento el material de construcción y las masas dinámicas añadidas a su estructura. Para el estudio realizado sobre las TIC, nos servimos de aquellas herramientas que obtenemos de la acústica musical. Sin duda, los programas Audacity y Spear se presentan como herramientas indispensables con las que evaluar la calidad del sonido teniendo en cuenta su afinación, articulación, estabilidad, presión sonora y resonancias de sus parciales. Las TIC facilitan la aprehensión de los contenidos y favorecen el aprendizaje significativo dado que son capaces de representar de forma dinámica o estática algo tan efímero como el sonido. Sin duda la conjunción dual oído-vista junto con las indicaciones de profesor elevan el porcentaje de éxito del alumnado para la consecución del objetivo propuesto, que es: dominar en su conjunto la técnica y las capacidades sonoras y expresivas del instrumento. Conclusiones. Las conclusiones que podemos extraer de esta tesis tendrán un calado más profundo para las intenciones docentes y la metodología pedagógica a desarrollar en el aula que a la parte puramente acústica donde se ha aportado algo de conocimiento a cuestiones relativas al comportamiento del instrumento pero que ciertamente no se pueden calificar como estrictamente novedosas. Desde el punto de vista de la física sí que tienen algo de ese espíritu en cuanto que los fenómenos investigados se han relacionado con el conocimiento (o más bien desconocimiento) habitual que tienen los músicos sobre el comportamiento del instrumento. Siempre se ha buscado dilucidar o justificar determinado fenómeno acústico con las herramientas objetivas que proporciona la experiencia científica de un laboratorio, para de esta forma poder trasladar los resultados obtenidos al lenguaje común que usamos los músicos. A partir de ahí se han podido extrapolar esos conocimientos novedosos para un músico a un lenguaje didáctico y aplicarlos al desarrollo de una metodología que si que podemos llamar nueva u original fruto de las investigaciones realizadas inicialmente en el laboratorio.