The lecture was given on March 3, 1974. The discussion of the Bolognese trumpet works consisted of an exploration of the local agencies that nurtured the compositional activity centered around San Petronio, biographical details of the principal composers, and stylistic and formal analyses of the works that were performed. Selections were performed from the early, middle, and late segments of the period, represented by the composers Maurizio Cazzati, Petronio Franceschini, and Giuseppe Torelli. In addition to the lecture recital three other public recitals were given. Two of these consisted primarily of solo literature for the trumpet, and the third featured chamber music with trumpet. The first solo recital was presented on July 31, 1972, and included works of Tommaso Albinoni, G. Ph. Telemann, Thérèse Brenet, and Wayne Bohrnstedt. The second solo recital, on July 22, 1974, featured French music of this century. Compositions by Ravel, Fauré,Varèse, Henri Tomasi, Pierre-Max Dubois, Benno Ammann, and Théo Charlier were presented. The chamber music recital displayed the trumpet in combination with other solo instruments and voice, together with varied accompaniments. A group of three arias for soprano and trumpet--by Purcell, Handel, and Bach--and a suite of arias for oboe and trumpet by Telemann were …

The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also …

To supplement student recruiting efforts, the Office of Admissions and Records, North Texas State University (rSU), funded a color sound promotional film, North Texas Now (NTi), describing academic and nonacademic services and activities of NTSU and its surrounding area. NT uses fast-paced montage and contemporary music, and for contrast and historic perspective, it opens and closes with sepia photographs depicting the early days of NTSU. An accompanying production book describes the making of NTN, examines the background against which NT2 was proposed, describes problems and procedures of production, analyzes the film, and offers recommendations for other university film productions,

The process of the organization of the orchestra began with the rise of opera; considered on a broad scale this process divides itself into two periods, the first terminated by the deaths of Bach and Handel (1600-1759) and the second beginning with the complete change of orchestral sound evident in the symphonies of Haydn and Mozart during the second half of the eighteenth century. It is the first of these two periods that witnessed the composers of art music exploiting the natural trumpet, an instrument long associated with court, camp, and field, to the extent that they developed a vast repertoire of trumpet music characterized by its virtuosic technical requirements.

In this study of vocal chamber duets the various approaches used in duet writing from the late sixteenth century through the nineteenth are examined. Various meanings attributed to the terms "vocal duet" and "chamber duet" are considered, and an appropriate delineation of the genre is determined. The study begins with examination of bicinia, dialogues, and concertato madrigals of the late sixteenth century, three kinds of works related to the continuing lines of interest in duets of later centuries: pedagogical duets, dialogue duets, and duets shaped by general musical trends. After a foundation has been laid in the sixteenth century, examples of duets of various kinds for the next three centuries are considered. It is seen that a discontinuity in the history of the vocal chamber duet occurs during the Classical period. Operatic and chamber duets prior to this time show great similarities in style. Operatic and chamber duets of the nineteenth century show distinct differences in style. At the same time that differences between operatic and chamber duets were increased, the differences between solo and duet chamber works by the same composer were decreased.