No description available.

Thesis (D.M.A.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed May 5, 2009). PDF text: xi, 126 p. : music ; 2 Mb. UMI publication number: AAT 3344729. Includes bibliographical references. Also available in print, microfilm and microfiche formats.

The selected works by the composers studied in this thesis might well stand as illustrative of the normal development of the use of the bass trombone near the close of the nineteenth century. Although notable progress was made by the cited composers in increasing the bass trombone's usefulness in the orchestra, each composer also continued to use the bass trombone as it had been used in previous years, such as in doubling bass parts, harmonic backgrounds, and for strong rhythmic punctuations.

Digitized by Kansas Correctional Industries

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

vi, 63 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / In 1927, James Weldon Johnson published God's Trombones: Seven Negro Sermons in Verse, a book of poems based on sermons heard in the African American Church. There are eight accompanying illustrations by Aaron Douglas. These images visually interpret the subject matter of the poems in a style that blends Cubism, Orphism, and Art Deco. Douglas depicted all the figures in these images, human and supernatural, in the form of shadow silhouettes, a stylistic practice he continued throughout his artistic career. The shadow is an ancient archetype in human mythology and psychology. This thesis looks at the depiction of shadows in a Jungian context. I explore the possibility that the use of the shadow allows deeper communication between the audience and the image by accessing the collective unconscious. I also examine the shadow as a metaphor for the socio-political oppression of African Americans rampant in the period between the wars. / Committee in Charge: Dr. W. Sherwin Simmons, Chair; Dr. Kate Mondloch; Dr. Karen Ford

The Octuor pour instruments a vents (or Octet), written in 1922-1923 by Igor Stravinsky, is a piece in three movements for a curious assortment of instruments: two trumpets, two trombones, flute, clarinet and two bassoons. It is one of four influential chamber works for winds by Stravinsky to include trumpet. Of these pieces, the Octet contains the fewest number of players but is no less complex and important in Stravinsky's oeuvre. The Octet helped mark the beginning of the neoclassical period in twentieth-century music. Chapter 2 examines the life and musical background of the composer. It also reveals the history surrounding the origin of the Octet and its role in neoclassicism. Chapter 3 discusses the role of the Octet in the wind ensemble and orchestral repertoire, and includes a representative performance history, including the premiere. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 provides suggestions regarding style in Stravinsky's music, including interviews with important figures in the trumpet world. Chapter 6 concludes the guide with specific suggestions regarding preparation and performance of the Octet.

Thèse (D. Mus)--Université de Montréal, 1996. / Ptie 1 : pour 28 interprètes en mouvement ; ptie 2 : pour 2 Ondes Martenot, 2 violons, alto, violoncelle, contrebasse, 2 trombones ; ptie 3 : pour 2 hautbois, 4 altos, 3 cors, 2 tubas, percussion électronique ; ptie 4 : pour 4 cors, 4 trompettes, 2 trombones, 2 tubas, percussion ; ptie 5 : pour orchestre avec interventions de sons humains sur bande magnétique. À la bibl. de musique, les cassettes sonores sont au COMPTOIR à la cote : CAS 00269 ptie 1-5 ; la vidéocassette est au fonds MEDIA à la cote : RVI4926. La vidéocassette comprend, avec EN TON N ER RE (S), trois autres œuvres qui constituent Musiques en espace sacré / par le collectif Espaces sonores illimités : La Quête, TABU (comme un territoire sacré) et Ex puls(i)on(s). "Thèse présentée à la Faculté des études supérieures en vue de l'obtention du grade de Docteur en musique (D. Mus.) option composition." Version électronique également disponible sur Internet.

The purpose of the lecture was to investigate the historical and musical heritage of the Moravian Church, with a particular interest in the works and players of the American Moravian Trombone Choir. The historical overview of people, customs, and practices is traced from its beginnings with the Unitas Fratrum in Bohemia through the Northern Germany settlement of Herrenhut and the establishment of the American Moravian colony at Bethlehem, Pennsylvania. The musical life of the church is represented by a discussion of the early hymns of the founding fathers in Bohemia and the subsequent instrumental music of the Moravian trombone choir in America. The trombone choir played chorales that were used to call the congregation to order, announce important visitors to the town, and provide music at special occasions. Anthems were played by trombones (when players were available) in regular church services, or outside when it was necessary to double voice parts. Concerted music was played in the Bethlehem Collegium Musicum. Biographies of the players of the 18th and 19th century trombone choirs provide information attesting to the proficiency and dedication of these musicians. A list of players who contributed to the trombone choir movement since the 19th century is included, as well as information about the popularity and function of the Moravian Trombone Choir today.