Thesis (M.A.)--Indiana State University, 1973. / Typescript. Includes bibliographical references (leaves 41-42).

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes embedded audio and video examples. Includes bibliographical references (p. 169-270).

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009. / "A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 30, 2009. Includes performances notes. Online version of the print edition.

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006. / "A thesis in music composition." Includes compact discs. Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

Thesis (M.A.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Jan. 12, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 42-44.

Since its early development in the 16th century, chamber music has had an extensive evolution. In recent years as composers have become more experimental concerning instrumentation in chamber music settings, many have began to combine wind instruments with percussion, thus creating a new genre. Even more specific genres have evolved from these happenings in chamber music, such as the duo of a solo wind instrument paired with a mallet percussion instrument. The horn, an important and diverse figure amongst the chamber music literature, has been no exception to this development. There has been an increase in popularity of music for horn and mallet percussion to be performed and recorded, but there has not been an extensive amount of scholarship on the topic. This study will focus exclusively on three works for horn and mallet percussion: HornVibes (1984) by Verne Reynolds, Sonata for Horn and Marimba (1986) by Charles Taylor, and The Call of Boromir (1996) by Daniel McCarthy. These works were selected based on their availability through professional recordings and publishing companies. Coincidentally, the three chosen works for this study were composed for Leslie and Christopher Norton. The purpose of this paper is to provide a performance guide for horn players who are considering these three works for a performance. It contains an introduction that displays the need for the study, a review of the role of the horn in chamber music, an explanation of the events leading up to the study, and methods used to conduct the study. For each individual work, there is a chapter containing a brief biography of the composer, an analysis, and performance preparation suggestions. Musical examples and tables are used in each chapter to aid in explanation. The goal of this performance guide is to provide an introduction to a newer genre of chamber music, and to provide horn players with insight and recommendations in order to properly prepare and perform works for this unique ensemble.

This thesis presents a comparison between two factorization techniques { Probabilistic Latent Component Analysis (PLCA) and Non-Negative Least Squares (NNLSQ) { for the problem of detecting note events played by a vibraphone, using a microphone for sound acquisition in the context of live performance. Ambient noise is reduced by using specifi c dictionary codewords to model the noise. The results of the factorization are analyzed by two causal onset detection algorithms: a rule-based algorithm and a trained machine learning based classi fier. These onset detection algorithms yield decisions on when note events happen. Comparative results are presented, considering a database of vibraphone recordings with di fferent levels of noise, showing the conditions under which the event detection is reliable. / Graduate

Thesis (D. Mus. Arts)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 42-43).

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2006, Sept. 25, 2006, Apr. 16, 2007, and May 13, 2008. Includes bibliographical references (p. 63-66).

Note sur les annexes : 11 fichiers en format m4a de pièces instrumentales mettant en vedette le vibraphone / Le vibraphone est un instrument relativement nouveau dans le domaine musical. En comparaison avec le xylophone et le marimba, le vibraphone offre une multitude de possibilités acoustiques tel le vibrato, la résonance du son à l'aide de la pédale ainsi qu'une sonorité douce et feutrée. L'utilisation de quatre baguettes subventionne l'aspect harmonique de l'instrument, permettant d'énoncer des accords à trois ou quatre sons pour accompagner d'autres musiciens ou de demeurer autosuffisant lorsque joué seul. Le but global de cette thèse porte sur le développement de l'improvisation jazz et l'observation des éléments distinctifs utilisés par le vibraphoniste Gary Burton. L'objectif est d'identifier comment sont traitées l'harmonie, la construction mélodique et l'évolution du début jusqu'à la fin de ses solos. La démarche est, en premier lieu, un survol des influences pertinentes qui ont marqué le musicien durant sa carrière. Ayant un curriculum vitae musical s'étalant sur plus de cinq décennies, j'observerai ceux qui ont été les plus prépondérants en se basant sur les techniques exploitées par les musiciens influents. En second lieu, un comparatif sera établi entre Gary Burton et les autres vibraphonistes. Les premiers enregistrements jazz coïncident avec la première apparition du vibraphone (1921). Les ères du bebop, du rock, du jazz modal, du cool jazz, etc., ont permis aux vibraphonistes émergents d'adapter leur style et leur improvisation au travers du temps. Chaque vibraphoniste ici comparé a contribué efficacement à l'évolution de l'instrument et a apporté une vision différente de l'approche improvisée. En troisième lieu, j'analyserai les récurrences techniques appliquées par le musicien. Pour donner suite à l'observation méthodologique de la présente thèse, ce chapitre illustrera, par le biais des transcriptions sélectionnées, les caractéristiques les plus communes du développement improvisé de Gary Burton. En quatrième lieu, j'illustrerai des composantes que j'adopte à mon propre jeu afin d'avoir une identité unique à l'instrument. Finalement, l'ensemble de ses éléments mènent à des résultats utilisés par le musicien dans sa vision de l'improvisation jazz. Ces outils pourront être particulièrement profitables aux musiciens de toute famille d'instrument désireux d'appliquer un langage musical provenant d'une légende du jazz. / The vibraphone is a relatively new instrument in the musical field. In comparison with the xylophone and the marimba, the vibraphone offers a multitude of acoustic possibilities such as vibrato, resonance of sound using the pedal as well as a soft and muffled tone. The use of four mallets subsidizes the harmonic aspect of the instrument, allowing three- or four-tone chords to be applied to accompany other musicians and to remain self-sufficient when played alone. The overall goal of this thesis is the development of jazz improvisation and the observation of the distinctive elements used by vibraphonist Gary Burton. The objective is to identify how harmony, melodic construction, and evolution from beginning to end of his solos are treated. The approach is, first, an overview of the relevant influences that have marked the musician during his career. Having a musical curriculum vitae spanning more than five decades, I will observe which have been the most dominant based on the techniques exploited by influential musicians. In the second place, a comparison will be established between this Gary Burton and the other vibraphonists. The beginnings of recorded jazz coincided with the invention of the vibraphone (1921). The eras of bebop, rock, modal jazz, cool jazz, etc., allowed emerging vibraphonists to adapt their style and improvisation over time. Each vibraphonist hitherto effectively contributed to the evolution of the instrument and brought a different vision of the improvised approach. Third, I will analyze the technical recurrences applied by the musician. To follow up on the methodological observation of this thesis, this chapter will illustrate, through selected transcriptions, the exposed lyrical quality of Gary Burton's improvised development. Fourth, I will illustrate components that I adopt to my own playing in order to have a unique identity to the instrument. Ultimately, all these elements lead to results used by the musician in his vision of jazz improvisation. These tools may be of particular benefit to musicians of any instrument family wishing to apply a musical language from a jazz legend.