Thesis (M.A.)--University of Wisconsin--Madison, 1947. / Works originally for voices. Ms. (arranger's holograph); prefatory material and bibliography typescript. Includes bibliographical references (leaves 150-156).

The theme of this thesis is groundbreaking 70s and 80s playing the tuba. The work divided into four chapters and subchapters. In the first chapter I write about major tuba players 70s and 80s. The first chapter and its subchapters consider crucial part of this thesis. The second chapter presents the most important authors and their songs that were to develop playing the tuba very important. The third chapter is devoted to the International Association of tuba, which was created at that time and for progress in the style of playing the tuba, it was very important. The fourth chapter is devoted to an interview with Jim Self and Pavel Trnka.

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As several Italian baroque violoncello transcriptions have entered the standard performance repertory for both high school and collegiate tubists, and as numerous texts, articles, and baroque performance instruction courses have illuminated a new realm of performance possibilities, no published document has provided specific, thorough, and sample approaches to performance on the tuba of a given piece (or pieces) through a detailed application of materials found in any singular source or combination of sources. Many of the existing articles and texts that approach the subject focus largely on ornamentation, while limiting the discussion and application of the following topics: tempo, spirit, affect, notation, rhythm, dynamics, and articulation. This document examines such topics and provides detailed explanations and suggestions of historically-informed characteristics applicable to two movements each from the R. Winston Morris transcription of Antonio Vivaldi's Sonata No. 3 in A Minor and the Donald C. Little/Richard B. Nelson transcription of Benedetto Marcello's Sonata No. V in C Major.

Submitted by RENATO PINTO (renatocostapinto@gmail.com) on 2015-10-14T13:25:14Z No. of bitstreams: 1 DISSERTAÇÃO. A TUBA NA MÚSICA BRASILEIRA.RENATO DA COSTA PINTO.FINAL.pdf: 7773482 bytes, checksum: e76050061ce3260cd21498f11baffbec (MD5) / Made available in DSpace on 2015-10-14T13:25:14Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO. A TUBA NA MÚSICA BRASILEIRA.RENATO DA COSTA PINTO.FINAL.pdf: 7773482 bytes, checksum: e76050061ce3260cd21498f11baffbec (MD5) / UFBA / Este trabalho teve o objetivo de catalogar peças brasileiras compostas para tuba solo em diferentes formações instrumentais, além de propor analise e sugestões interpretativas para a Fantasia Sul América, composta por Claudio Santoro. Para alcançar os objetivos propostos foi utilizado como metodologia a pesquisa exploratória e descritiva. Os dados coletados foram tratados de forma quali-quantitativa. Foram catalogadas noventa e duas composições, dentre estas quarenta e cinco para tuba, dezesseis para bombardino, quatro duos para tuba e bombardino, cinco quartetos para tuba e bombardino e vinte e uma peças para tuba/bombardino e demais instrumentos. A pesquisa justificou-se pela lacuna existente na organização e busca pelas obras brasileiras para tuba e bombardino e pelo fato do pesquisador ser interprete e professor dos instrumentos em questão.

Luigi Nono's work Post-Prae-Ludium No.1 "per Donau" represents a model for the emerging genre of electroacoustic tuba music. It is important to preserve this electroacoustic work because of its value to the tuba literature. Not only is it one of the first electroacoustic works for the tuba, but it also was composed by a man who is highly regarded in the field of music composition. Its preservation will be difficult because of the rapid advancement in technology. Within the last three decades of existence, the technology has evolved three times. An examination of the performance practice in Post-Prae-Ludium was undertaken to understand the demand on the performer required to play this work. This study will look at both non-traditional performance practices, as well as an inherent problem of how the advancement of technology can actually threaten the survival of a work dependent upon a specific version of electronic technology. Nono worked in collaboration with Giancarlo Schiaffini to compose a work for tuba and live electronics. Correspondence with Schiaffini has provided his thoughts on the collaboration of Post-Prae-Ludium with Nono and given a better understanding of how to perform the work. Technology will change, and these current adaptations of Post-Prae-Ludium may not be valid in one or two decades. However, with the description and instruction given by Nono and Schiaffini, in addition to recordings made of Post-Prae-Ludium, there is a record from which to reproduce this work. This study provides a source allowing performers to reproduce this work, thereby preserving it for future performers.

O objetivo deste estudo foi avaliar a morfologia/crescimento craniofacial e a oclusão dentária em pacientes (ambos sexos), entre 4 e 10 anos e aumento adenoamigdaliano com e sem otite média secretora (OMS). Utilizou-se análise cefalométrica e modelos de estudo dentários. Não foram observadas diferenças significativas entre os grupos estudados, em relação às medidas lineares e angulares adotadas, exceto, a medida correspondente ao comprimento do palato ósseo (ENA-ENP), que mostrou relação com a idade e a OMS. Não houve um tipo facial predominante. Observou-se discreta predominância de mordida profunda, mordida cruzada posterior e desvio da linha média em relação à OMS, porém sem significância estatística. A atresia maxilar pode estar associada à OMS, assim como sua redução pode estar relacionada ao crescimento e desenvolvimento craniofacial / The aim of this study was to evaluate the craniofacial growth/morphology and dental occlusion in 100 patients (male and female) from 4 to 10 years old and tonsils and adenoid enlargement. There were two groups: with and without otitis media with effusion (OME). We used the cephalometric analyses and dental casts. It was not observed significant differences between the two groups, in relationship to the linear and angular measurements adopted, except for the measurement corresponding to the palate bone length, which had shown correlation with age and OME. It was not found a facial pattern predominance. It was observed a discreet predominance of deep bite, posterior cross bite and midline deviation to OME, however without statistical significance. The maxillary narrowing might be associated to OME as well as its reduction may be related to the craniofacial growth and development

O objetivo deste estudo foi avaliar a morfologia/crescimento craniofacial e a oclusão dentária em pacientes (ambos sexos), entre 4 e 10 anos e aumento adenoamigdaliano com e sem otite média secretora (OMS). Utilizou-se análise cefalométrica e modelos de estudo dentários. Não foram observadas diferenças significativas entre os grupos estudados, em relação às medidas lineares e angulares adotadas, exceto, a medida correspondente ao comprimento do palato ósseo (ENA-ENP), que mostrou relação com a idade e a OMS. Não houve um tipo facial predominante. Observou-se discreta predominância de mordida profunda, mordida cruzada posterior e desvio da linha média em relação à OMS, porém sem significância estatística. A atresia maxilar pode estar associada à OMS, assim como sua redução pode estar relacionada ao crescimento e desenvolvimento craniofacial / The aim of this study was to evaluate the craniofacial growth/morphology and dental occlusion in 100 patients (male and female) from 4 to 10 years old and tonsils and adenoid enlargement. There were two groups: with and without otitis media with effusion (OME). We used the cephalometric analyses and dental casts. It was not observed significant differences between the two groups, in relationship to the linear and angular measurements adopted, except for the measurement corresponding to the palate bone length, which had shown correlation with age and OME. It was not found a facial pattern predominance. It was observed a discreet predominance of deep bite, posterior cross bite and midline deviation to OME, however without statistical significance. The maxillary narrowing might be associated to OME as well as its reduction may be related to the craniofacial growth and development

Die-bleibende Stadt : Quintet für fünf Bläser Nr. 1, op. 27 -- La nuit et l'extra-terrestre : Deuxième Poéme Symphonique pour Orchestra à vents, op. 28 -- Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, op. 30 -- 3 duets of strings, "Information Engineering", op. 31. / Lam, Wang Kong. / Durations: 8 min.; 8 min.; 70 min.; 8 min. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves ). / Lyrics of 3rd work in Latin; abstract also in Chinese. / Abstract --- p.ii / Acknowledgements --- p.iii / Die bleibende Stadt: Quintet fur funf Blaser Nr. 1，Op.27 --- p.1 / Programme notes --- p.2 / Score --- p.3 / "La nuit et I'extra-terrestre : Deuxieme Poeme Symphonique pour Orchestre a vents, Op.28" --- p.9 / Programme notes --- p.10 / Score --- p.11 / "Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, Op.30" --- p.39 / Programme notes --- p.40 / Score: / Chapter I. --- Introit --- p.44 / Chapter II. --- Offertorio --- p.72 / Chapter III. --- Sanctus --- p.102 / Chapter IV. --- Pie Jesu --- p.121 / Chapter V. --- Agnus Dei --- p.126 / Chapter VI. --- Lux aetema --- p.137 / Chapter VII. --- Libera me --- p.141 / Chapter VIII. --- In paradisum --- p.171 / "3 Duets for strings, ""Information Engineering´ح, Op.31" --- p.184 / Programme notes --- p.185 / Score: / Chapter I. --- Fourier Transform --- p.186 / Chapter II. --- Cryptography --- p.188 / Chapter III. --- Information Theory --- p.190

Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba. The works of Igor Stravinsky, Sergei Prokofiev, and Dmitri Shostakovich, along with their orchestral contemporaries, represents a significant portion of this literature. This study examines a seminal work in the orchestral genre from each of these three Russian composers. The role of the tuba in each work is discussed. Excerpts of the tuba part are examined in terms of performance issues such as range, rhythm, phrasing, and scoring. Comparisons and contrasts are drawn as to how each composer used the tuba and the effectiveness of the utilization.