Traditionally, collegiate ear training classes in the United States are comprised largely of notation-based exercises and assignments, administered to small groups by a single teacher. Aside from the piano, instruments generally are not used during ear training classes, de-emphasizing the perceived correlation between students' aural skills development and their progress as instrumentalists. By studying the history of music education, and examining current aural skills pedagogy, the author has found that common practice often relies on notation-based tasks as a measurement of success, despite the fact that research supports the effectiveness of aural-based learning. In order to encourage a better understanding of pitches and rhythms, the author composed fifteen original etudes ("Ear-tudes") for tuba with accompanying drills. Before revealing each Ear-tude, the instructor leads the student through related drills. Each of the Ear-tudes focuses on a particular interval, scale-type, rhythmic, or tonal challenge, within a variety of meters, tempi, and styles, all of which are suitable for the typical first year tuba student. This method provides an innovative way for tuba teachers to integrate ear training into their instruction, alongside a new collection of etudes designed specifically for freshman students.

I detta arbete har jag utforskat hur mock auditon kan användas som pedagogiskt verktyg särskilt som förberedelse inför en symfoniorkesterprovspelning. Jag valde ut 13 av de vanligaste orkesterutdragen för tuba och höll en mock auditon för en jury representativ för en symfoniorkesterprovspelning. Jag sammanställde deras kritik för varje utdrag och skapade övningsmetoder utefter det. Efter det höll jag en andra mock audition med samma jury.   Jag kommer fram till att det inte är möjligt att tillfredsställa alla i en jury musikaliskt men det finns aspekter som de flesta professionella orkestermusiker är överens om. Följer man notbilden noggrant och är övertygande i sin egen musikaliska tolkning ökar chansen för positivt utfall. En annan slutsats jag drar är att mock audition är ett väldigt bra pedagogiskt verktyg och att arbetsmetoden ger en tydlig struktur för instudering av orkesterutdrag och bidrar till personlig utveckling i att ta kritik på ett bra sätt och kunna omvandla det till något praktiskt. / <p>Den klingande delen av arbetet utgörs av följande inspelningar: inspelning av mock audition nr. 2 första rundan och inspelning av mock audition nr. 2 andra rundan. Coronavirussituationen vt 2020 har medfört begränsningar i inspelningsmöjligheterna. Inspelningarna kan komma att kompletteras.</p><p>Följande inspelningar bifogas också: Inspelning av mock audition nr.1 första rundan och inspelning av mock audition nr. 1 andra rundan. </p><p>Inspelningar av mock audtion nr. 1 gjordes 10/3 2019 i Hildegardsalen på Musikaliska.</p><p>Inspelningar av mock auditon nr. 2 gjordes 19/3 2019 i Kungasalen på Kungliga musikhögskolan i Stockholm.</p>

The purpose of this project is to help bridge the gap of available solos for the novice bass tuba player. It is necessary for the growing tuba player to transition to the bass tuba for solos at the professional level, but the majority of pieces that are written for the bass tuba are at the professional level, and it leaves very little for the transitional phase from a repertoire standpoint. Through transcribing vocal works, an aspiring bass tuba soloist can focus on fundamental aspects of tuba playing like tone quality, breathing, intonation, and musicianship. Generally speaking, tuba solos are written for the contrabass tuba and accessible to late high school and early college musicians, or they are written at the professional level for bass tuba. There is a gap in the repertoire for the solo tuba, pieces that can help transition young students to the later repertoire demands of the bass tuba. This project will address the need for more novice solo works accessible to the young collegiate tubists transitioning to the bass tuba by identifying current deficiencies in the repertoire available for the developing solo tubist. This project concludes with a transcription and performance edition of Franz Schubert's Op. 59, Nos. 1-4: No. 1, Du liebst mich nicht; No. 2, Dass sie hier gewesen; No. 3, Du bist die Ruh'; and No. 4, Lachen und Weinen.

This study has been prepared for the purpose of showing the development of the modern bass tuba through all stages, from its earliest ancestors to its present form. Also by the use of examples, it is hoped that the treatment of the instrument in selected orchestral works will show in some ways how it has and can be used.

An investigation of current practices in the teaching of the bass tuba in the applied studios of U.S. colleges and universities as determined by survey. Survey recipients were low brass teachers at American colleges and universities who were members of one or more of the following professional organizations: International Tuba Euphonium Association, College Music Society, National Association of College Wind and Percussion Instructors. Topics examined are: general practices among teachers, including performance usage and literature, pedagogy and equipment. The survey instrument as well as a list of the respondents is included.

Denna självstudie handlar om min motivation kopplat till min övning på instrumentet tuba. Syftet med studien är att, ur ett fenomenologiskt perspektiv, belysa aspekter som är viktiga för mig själv när det kommer till vad som gör mig motiverad att öva tuba. Bakgrunden till studien är att jag själv ville få mer inblick i övningsteknik och möjliga orsaker till min egna motivation, och möjliga anledningar till brist på motivation. Som metod till studien har jag använt mig av loggboksskrivande. Loggboksinlägget har sedanlegat till grund för studien, och det är analyser av loggboksinläggen som ligger till grund för arbetets resultat samt diskussionen kring resultatet. / This self-study is about my motivation and its ties to my tuba practicing. The purpose of this study is to shine light on the aspects that makes me motivated to practice the tuba. This is done through a phenomenological perspective. The background to the study is that I wanted to get better insights in practice techniques and insights in my motivation, and possible reasons to why I am not motivated sometimes. The method of choice has been writing in a journal. The journal entries have then been the foundation for the study, and the analysis of the entries are what lies as a foundation for the result, and the discussion behind the result.

In recent years, the use of the cimbasso has gained popularity in Giuseppe Verdi opera performances throughout the world. In the past, the tuba or the bass trombone was used regularly instead of the cimbasso because less regard was given to what Verdi may have intended. Today, one expects more attention to historical precedent, which is evident in many contemporary Verdi opera performances. However, the tuba continues to be used commonly in performances of Verdi opera productions throughout the United States. The use of the tuba in the U.S. is due to a lack of awareness and a limited availability of the cimbasso. This paper demonstrates the pedagogical and aesthetic differences between the use of the tuba and the modern cimbasso when performing the works of Giuseppe Verdi operas.

An interpretive analysis of Ralph Vaughan Williams' Concerto for Bass Tuba which compares tempi, interpretation of the melodic line, ornamentation, dynamics, pitches, rhythms. phrasing and articulations as utilized by four prominent tuba performers. Performers selected to share their interpretations include Arnold Jacobs, Donald Little, Richard Nahatzki and Harvey Phillips. Little, Nahatzki and Phillips provided a copy of their solo parts with their personal markings. Jacobs gave permission to transcribe his interpretation from the recording he made with the Chicago Symphony Orchestra. Performers' biological information is included along with musical reviews of Concerto for Bass Tuba.

The French tuba was a much-needed addition to the brasswind musical instrument family, adding depth, projection and a unique color to French orchestral literature. Its ancestors the serpent and ophicleide both lacked the tonal stability and sonic power to adequately present the bass wind role in a robust orchestra. Through the efforts of its developer and patent-holder Adolphe Sax, the French tuba made converts among players and composers, effectively creating its own niche in music history. Musical tastes change however, and the French tuba has been largely supplanted by tubists using instruments twice its size. Since French composers composed specifically with the distinct timbre of the French tuba in mind, this unique and characteristic musical entity deserves a resurgence in performances of French orchestral repertoire.

There is currently a great deal of information available to euphonium players who double on trombone, but far less for euphonium players who double on tuba. This dissertation takes information gathered from many top euphonium/tuba doublers, including: Benjamin Pierce, D.M.A., Aaron Tindall, D.M.A., Gail Robertson, D.M.A., Gretchen Renshaw James, D.M.A., Matthew Murchison, D.M.A., Matthew Shipes, D.M.A., Matthew Tropman, D.M.A., and Keith Kile, and presents a synopsis of their thoughts/reflections on tuba doubling. This dissertation is designed to aide euphonium players in the process of learning tuba, enabling them to be as efficient as possible with both their time and money throughout the process. Topics covered include: difficulties unique to the euphonium/tuba double and approaches to overcome them, similarities and differences between euphonium and tuba playing (from the perspective of euphonium/tuba doublers), "reverse" benefits of euphonium/tuba doubling on the primary instrument, literature recommendations for euphonium/tuba doublers, and equipment considerations for euphonium/tuba doublers.