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.

The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several strategies; examples from each etude are provided. Modern right-hand scale philosophy, such as playing scales with "a," "m," and "i" in the right-hand are addressed and further example provided to give players several solutions to choose from. Right-hand fingering implies articulation and several interpretations are analyzed for each etude where they exist. Left-hand fingerings are sporadically present in modern editions but are often lacking in the most difficult passages. Stretching techniques from other string instruments can be applied to the guitar and one technique in particular can be applied to the most difficult stretches in Regondi in numerous instances. For some of the most challenging textures several solutions are given. The etudes of Regondi can …

Multiple articulation is a technique that is becoming commonplace in the saxophone literature. This study provides a detailed explanation of how produce the technique. Its application to saxophone literature is explored with musical examples and commentary by the author. A compilation of pedagogical viewpoints regarding multiple articulation from educators spanning the last century is provided.

Violin repertoire composed in the late twentieth and early twenty-first centuries placed new demands on performers. While numerous pedagogues have written etudes and treatises analyzing traditional techniques, far fewer have thoroughly examined contemporary techniques. Many of the existing etudes and exercises inspired by contemporary violin repertoire are of a very high difficulty level and may seem unapproachable to students with little to no experience performing the music of recent decades. As a result, many violin students are unacquainted with the language of new music. This dissertation is intended to help fill a gap in the pedagogical literature by serving as a resource that familiarizes advanced students with the notation and proper execution of the non-traditional techniques commonly found in contemporary violin music. This document includes a survey of violin repertoire written since 1970, an analysis of the non-traditional techniques used most often in the works examined, methods for approaching specific technical problems that arise in them, and nine etudes originally composed by this author. The etudes focus on nine contemporary techniques, ranging from contact point variations to changing subdivisions, and are intended for study by advanced violinists interested in performing contemporary music.

François Couperin (1668-1733) was one of the earliest French Baroque composers to merge the Italian style into the French tradition. He had great influence on the development of French Baroque music from the end of the seventeenth century until his death. Couperin's four Concerts Royaux and the ten Concerts Nouveaux (published in 1722 and 1724) were written for the enjoyment of Louis XIV. Those suites were popular in the court before they were published, as they were requested to be performed every Sunday during the years 1714 and 1715 to give pleasure to the king. Rittrato dell'amore is the ninth suite out of the fourteen suites. The purpose of this study is to provide a performance guide and a practical edition of François Couperin's Neuvième Concert Ritratto dell' amore. It also contrasts Italian style and French tradition in the Baroque period, and how Couperin blended both styles together in his Neuvième Concert. In addition, this dissertation summarizes the general principles of Baroque performance practice that one may encounter in Neuviéme Concert, including notes inégales (unequal notes), ornamentation, over-dotting, and other issues. It is especially important for one to understand the performance style of French Baroque music in order to perform …

Anthony Plog's Concerto for Flute and Wind Ensemble is a substantial but relatively unknown work from the composer's early compositional period. It deserves wider exposure and recognition in the repertoire for solo flute and wind ensemble, given its accessibility for both the soloist and the ensemble.

This document examines current practices and opportunities in the music performance field related to artistic citizenship, community engagement, and the field of teaching artistry. The relationship of musicians to their audiences and communities has shifted significantly in the twenty-first century, and there is an increasing need to redefine the essential skills of the professional musician. Derived from the field of teaching artistry, the concept of "activating artistry" suggests that our greatest strength and power as artists lies in drawing out individual artistic expression in other people, and it is with this power that artists as a workforce can create meaningful change in society. This intention could be manifested in many different contexts during the course of a given music career, however, developing the tool kit necessary for engaging in such work is not widely emphasized in the training of musicians. What tools can be provided for students and professionals to help them navigate both traditional and evolving career paths in music? How are bassoonists doing as a field in addressing the imperative of community engagement and artistic citizenship? How might we explore more collaborative ways to engage with our diverse communities – ways that value their perspectives? These questions guide …

The ability to sight-read well is held as a highly regarded and important skill in music performance and education. Over the past 90 years, researchers have investigated several aspects of music sight-reading, especially those attributes possessed by skilled sight-readers. A significant and recurrent finding from this body of research is the relationship between sight-reading and rhythm recognition. Though these studies have found positive effects and correlations between rhythm recognition and sight-reading, they have been limited and indirect. The aim of this dissertation was to investigate the effects of (a) practicing rhythms on a single pitch and (b) practicing rhythms with full-range scales and their direct effects on sight-reading ability in saxophonists at the college level. The primary objective in this research was to determine if one method was more effective than another in developing sight-reading skills. The participants (N = 74) consisted of college students who were enrolled in saxophone lessons at a university in the southwestern United States. Participants were administered a sight-reading pre-test at the beginning of an 8-week treatment period. After pre-testing, students were blocked into two groups. The first treatment group was assigned to practice rhythms on a single pitch and the second treatment group was …

Brass musicians are known to experience a performance problem that is sometimes called valsalva maneuver or musical stuttering. This problem is known to cause difficulty starting a first note, tension in the throat, and tightness in the chest. Unfortunately, the research literature lacks sufficient details for evidence-based interventions. Therefore, the purpose of this study is to characterize and define this performance problem as experienced by brass musicians. An online epidemiologic survey was developed and deployed to collect data from brass musicians who have experienced this problem in their own playing. The survey was designed to acquire data in order to characterize and define the phenomenon through a biopsychosocial framework. The survey was also designed to assess whether this problem aligns with Altenmuller's heuristic model of motor control disruptions. A diverse group of brass musicians (n = 252) participated and offered relevant details for characterizing and defining this problem. Analysis of characteristic data suggests this problem is not a form of musical stuttering. Considering these data through Altenmuller's model suggests that this problem is experienced as a spectrum of motor disruptions that can develop into a unique type of musician's dystonia. While additional research is warranted, the results of this study …

In Romanian, the word lăutari refers to highly skilled professional Romani (Gypsy) musicians. By interacting with Romanian culture and tradition, the lăutari settled down in the country and developed a unique musical tradition. Their music is characterized by intricate, elaborate, and refined ornamentation; its execution requires a highly level of technique. George Enescu, regarded as Romania's most influential musician, was affected by lăutari music. He created a unique musical language that recreates Romanian character by using lăutari elements. This dissertation examines how to approach Enescu's Violin Sonata No. 3 and perform it by understanding the characteristics of lăutari music as well as the work's use of such lăutari violin techniques as diverse expressive slides, vibrato, double stops, various ornaments, artificial harmonics, imitation of folk instruments, and a variety of bow strokes. Enescu's Violin Sonata No. 3 is regarded as a challenging work in the violin literature requiring a high level of violin technique. Although the standard violin repertoire is enormous, many violinists are looking to rediscover new and challenging repertoire, distinguish themselves from others, and promote themselves as professional performers. Therefore, this study should help violinists to approach the idiomatic violin writing of Enescu's sonata, especially its lăutari techniques and …

This dissertation examines a recent work for flute and piano, Here Everything Shines, by a living composer, Charlotte Bray, including a study, analysis and performance guide. The composition was largely inspired by the late Cape Verdean singer Cesária Évora and her song Petit Pays. My research explores the influence of Évora's song on Here Everything Shines, including the melodic development, tonal center, style and freedom of her singing and the impact the song has on a performer's interpretation of Here Everything Shines. The study examines the text of the song, the emotions evoked and reflects on the compositional elements in Here Everything Shines. Originally written for flute and guitar and commissioned by Tom Kerstens for International Guitar Foundation, Here Everything Shines was published in 2015. Bray transcribed it for violin and piano at request of Darragh Morgan and Mary Dullea and subsequently for flute and piano at my request. This dissertation compares the three versions for flute and guitar, violin and piano, and flute and piano and examines the variations between flute and violin as well as guitar and piano parts. The performance guide includes the composer's input on both interpretation and implementation of her ideas throughout the work.

In 1964, Benjamin Britten met the multi-instrumentalist twins Zoltán and Gábor Jeney while traveling in Budapest. At their behest, Britten composed Gemini Variations: Twelve Variations and Fugue on an Epigram by Kodály, a work which exploited the brothers' abilities on multiple instruments: Zoltán on flute and piano, and Gábor on violin and piano. In foreseeing the difficulties of programming this work, Britten simultaneously arranged a version for four players: flute, violin, and four-hand piano, eliminating the need for switching instruments. Despite this arrangement, as well as a very public and highly anticipated premiere at the Aldeburgh Festival in 1965, Gemini Variations has remained neglected by performers and scholars alike. This document serves to 1) promote a work that can justifiably be considered as part of the chamber music repertoire involving flute; 2) advocate for its musical merit and appropriateness for chamber music concerts made up of more traditional groups of players; 3) compare the two-player and four-player versions Britten wrote; and 4) explore the likely reasons why a piece by one of the most celebrated composers of the twentieth century has remained largely ignored for over fifty years.

A comparative analysis of the musical transcriptions of Dorothy Ashby with those of her predecessors proves that Ashby was a uniquely powerful and innovative influence on the genre of jazz harp. This dissertation begins with a summative biography of Ashby, following her education in both jazz and classical music through to her career highlights as a performer, arranger and composer. An analysis of Ashby's recordings reveals the development of her groundbreaking musical style throughout her life. This paper also examines Ashby's social activism through musical theatre, especially with regards to combating racism. Next, a brief biography of jazz harp forerunners Casper Reardon and Adele Girard precedes a comparative analysis of Reardon's "Aint' Misbehavin" with Ashby's "Soft Winds" and a comparative analysis of Girard's "Harp Boogie" with Ashby's "Blues for Mr. K." Finally, myriad examples of current musicians covering and sampling her work confirm the paramount and lasting influence of Dorothy Ashby's music.

American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

Cécile Chaminade (1857-1944) was a remarkably successful French composer and pianist for a woman in the early part of her career, although her reputation waned rapidly after her death. Concertstück (1888), a single movement for piano and orchestra, was her only work in this medium. It requires many traditional piano skills and therefore can serve admirably as a comprehensive technical and artistic study. This dissertation includes a formal analysis of this piece, a discussion of each type of specific piano technique it requires, and practice suggestions.

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

The four-valve automatic compensating system as developed by David James Blaikley has become an integral part of the professional euphonium in use today. While the Blaikley system was designed to allow a euphonium to play chromatically down to the fundamental pitch of the instrument, it was hardly the only design to do so. Using a historical analysis of euphonium valve systems, the case is made for why Blaikley's design has been widely adopted in the face of criticism about the four-valve automatic compensating system. The analysis also clarifies the viability of Blaikley's, as well as others', euphonium valve system designs based upon the four factors of intonation, range, intuitiveness of use, and weight. These factors are further explored in a rubric in order to quantify the results of the analysis.

The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.

Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.

The purpose of this research is to explore the benefits of chant music and its pedagogical applications for the individual trombonist or ensemble member. Several common method books are examined and categorized as either musical exercise or lyrical etude. Through this analysis I highlight a gap between the two method types that can be bridged through practice of chant. I support this claim through an analysis of chant characteristics that make it an ideal candidate to encourage pure sound production and connection in a performable work. Practice of chant in trombone chamber or choir ensembles will also encourage the development of skills necessary to play as a member of a group. I propose regular practice of this music will aid the ensemble in blend and balance, intonation, articulation, and slide coordination. The final chapter of the research provides the reader with a brief summary of the works refenced to promote further study as one chooses.

Auditions often require performance of orchestral excerpts as part of the screening process because orchestral literature contains a wealth of technical challenges at different levels of difficulty; however, many cello teachers still only use etudes, sonatas, and concertos for musical development and technical application and do not use orchestral excerpts as pedagogical tools or daily exercises. This dissertation, in an effort to standardize orchestral excerpts as part of common technical exercises, includes the ten most popular major excerpts selected from thirty audition lists from major orchestras in the United States. Analysis of each excerpt highlights different technical elements, provides short exercises to overcome these challenges, and discusses the aspects of cello playing that will benefit most from practicing orchestral excerpts. In this way, these selections can be played in preparation for auditions, as well as incorporated into daily practice routines.

Korean composer Young Jo Lee (b.1943) is considered a precursor of Korean fusion music. In his works, he interlaces elements of traditional Korean music with compositional styles and performances techniques from western musical traditions. This dissertation provides an analysis of Lee's Dodri for Cello and Janggo (1995), one of his most representative works of fusion music. As indicated by the title Dodri (which in Korean means a "movement back and forth"), Lee intended to showcase a friendly interplay of the janggo and the cello, with each instrument playing a leading role that helps bring out the essence of traditional Korean traditional music. In this piece, Lee writes a number of melodies and uses traditional Korean performance techniques for the cello intended to imitate the sound and sentiments of traditional Korean instruments, all while preserving its inherent nature. This kind of fusion, where different musical elements are merged with each other but remain separate enough to maintain their own uniqueness, is significant to Lee's philosophy. This dissertation also describes Lee's efforts to preserve the integrity of traditional Korean music within fusion music and lend new insights regarding traditional Korean musical practice to musicologists, composers, and audiences. Furthermore, this study is intended …

Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night Music, composed in 1964. This research offers Western flutists a better understanding of Indian music, specifically Hindustani and Indian folk music traditions, often not fully understood since Indian music is an aural tradition, rarely transcribed and notated, and relies on a guru/shishya (teacher/student) relationship. Such an understanding will elucidate the compositional choices made in Night Music, allowing flutists to be more informed in their performance of it. Although the focus of this study is on Night Music, other repertoire from Bhatia's concert music and film music will also be examined to illuminate Bhatia's compositional style, which includes elements of Hindustani music, Indian folk music, and Western musical …