Etudes have been composed to address the primary challenges found in ten selected euphonium wind band pieces. Each work was chosen based on its frequency of occurrence in military band auditions as well as its appearance in excerpt books and journal articles. Practice drills, practice variations, and overtraining studies are the primary concepts used for composing each etude. List of selected works: (1) Roman Carnival Overture Op. 9, Hector Berlioz; (2) First Suite in E-flat for Military Band Op. 28 No. 1, Gustav Holst; (3) Barnum and Bailey's Favorite, Karl King; (4) The Melody Shop, Karl King; (5) Aegean Festival Overture, Andreas Makris arr. Albert Bader; (6) Theme and Variations Op. 43 A, Arnold Schoenberg; (7) Festive Overture Op. 96, Dmitri Shostakovich arr. Donald Hunsberger; (8) Festival Variations, Claude T. Smith; (9) The Stars and Stripes Forever, John Philip Sousa; and (10) Suite from the Ballet: Pineapple Poll, Arthur Sullivan arr. Charles Mackerras.

David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles. The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).

Factual evidence concerning the ancestry of the clarinet has been a perpetual topic of debate among musicologists and organologists. Scholars have widely agreed that the clarinet, first documented in 1710, emerged from the baroque invention of the chalumeau (invented circa 1690), which in itself was an improvement upon the recorder. Considering the chalumeau's short lifespan as the predominant single reed instrument in the early eighteenth century, the chalumeau inspired a monumental amount of literature that includes vocal and instrumental genres written by distinguished composers. Vivaldi is considered to be the most significant composer that wrote for both clarinet and chalumeau; he wrote for both instruments simultaneously throughout his life whereas his contemporaries seemingly replaced the chalumeau with the clarinet. This project will discuss Vivaldi's proximity to the chalumeau and the clarinet and will provide an in-depth analysis of relevant works by the composer to determine how he, unlike his contemporaries, treated the chalumeau and the clarinet as separate and equally viable instruments. Following a brief history of the chalumeau and clarinet in Italy and a relevant biography of Vivaldi (Ch. 2), this document will discuss the integral Vivaldi compositions that include clarinet and chalumeau and the role of the clarinet …

British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites …

Younghi Pagh-Paan is an internationally renowned contemporary Korean-German composer. While her music has been strongly influenced by German contemporary musical aesthetics, her compositions also possess Korean musical and cultural influences. In her works, Pagh-Paan employs Western instruments and musical languages that incorporate contemporary techniques such as vibratos, flatter tonguing, pitch bends, and legato glissandi. These effects are thought to imitate the sounds created by traditional Korean instruments. Man-Nam I, for clarinet and string trio, was the second work that Pagh-Paan composed following her move from Korea to Germany. The piece includes many sounds representative of traditional Korean instruments, along with significant symbolism of the sociological background, culture and history of Korean people. The study of Man-Nam I focuses on unraveling hidden elements of Korean traditional music and culture, and addresses the need for the performers to understand its rich Korean influences in order to reach a deeper interpretation of Pagh-Paan's work.

Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experience beyond their abilities, namely improvisation. Second, the instrumentation, string quartet plus jazz combo, is atypical, making it difficult to program. Third, jazz and classical educational worlds do not necessarily overlap or interact, and neither has taken ownership of this Third Stream composition. Lastly, manuscripts, recordings, and other materials for Interlude in B-flat are limited and not readily available. Because Artie Shaw is not only a significant American clarinetist but also an important composer within the Third Stream narrative, Interlude in B-flat should be known and performed. This project aimed to promote the understanding and accessibility of this important and unknown composition to the classical clarinet world by providing an accessible arrangement …

Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently …

The repertoire for trombone and percussion has grown in popularity since the later 1980s. There are currently more than 110 pieces written for the ensemble. This project follows the commissioning and collaboration of Dr. Blake Tyson, Professor of Percussion at the University of Central Arkansas and well known percussion composer, in the creation of a new piece for trombone and percussion. The project also created a survey of works for trombone and percussion duet that includes 32 works. The survey includes details such as specific percussion instrumentation range, tessitura, grade level, publisher, and a description of each piece.

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 …

The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik's understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popieluszko in 1984. Panufnik's relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik's compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. context of the commission and premiere is also examined. Additionally, the original manuscript and subsequent piano reduction are compared. Although the Concerto for Bassoon has been subject to formal analysis by …

Self-handicapping is a psychological behavior people engage in to protect their self-image, project a desired image to others, and to augment feelings of success and achievement. Self-handicapping occurs when individuals have a positive but uncertain self-image about their competence in an arena of life fundamental to their self-identity. Musicians have been underrepresented in self-handicapping studies; yet the very competitive nature of their education and craft, the strong identification musicians have as musicians, and the frequent challenges during all phases of development to their abilities would suggest they are extremely vulnerable to developing self-handicaps. This dissertation discusses the theoretical components of self-handicapping, the personality traits typically exhibited by high self-handicappers, causes, types, and possible motivations for self-handicapping, short and long term effects of the behavior, and the implications these concepts have to the musician community. In addition, it contains the results of an extensive survey of musicians which examines self-handicapping tendencies, depression, imposter phenomenon, and self-esteem ratings to determine 1) if musicians self-handicap, 2) how the four constructs are related to each other within the musician population, 3) if other factors concerning musicians and self-handicapping are related, 4) areas for future research. Several significant relationships involving the four constructs tested, as …

As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon. We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a significant aspect of art music today, and bassoonists are barely participating in the creation of this new repertoire. Performance practice often considers only the musical score; interactive electronic music regularly goes beyond that. The combination of technological challenges and inexperience can make approaching electroacoustic music a daunting and inaccessible type of music for bassoonists. These issues require a different language to the performance practice: one that addresses music, amplification, computer software, hardware, the collaboration between performer and technology, and often the performer and composer. The author discusses problems that performers face when rehearsing and performing interactive electroacoustic works for bassoon, and …

Strategies for Developing Individual Education Programs for Public School Music Students with Attention Deficit Hyperactivity Disorder and Dyslexia explores the need for curriculum modifications, accommodations, and remediation techniques for beginner band students with specific learning disorders (SLDs) under the umbrella of Individual Education Programs (IEPs) or 504 plans for attention-deficit/hyperactivity disorder (ADHD) and/or dyslexia. ADHD and dyslexia are the most common of the neurodevelopmental disorders, often affecting a student's ability to stay focused and attentive; remain quiet and well behaved; comprehend written, visual and/or oral instruction; organize thoughts and materials; exhibit good time management; execute fine and gross motor skills; retain and recall information; decode symbols; process information quickly and correctly; maintain healthy, interpersonal relationships; and overcome anxiety. In order to provide inclusive instruction, music educators should understand how to identify these (often comorbid) conditions and the musical challenges these students might encounter, including time/pulse, notation, rhythm, posture, fingerings, and sight-reading. A guide for instrumental directors and private instrumental teachers, "How to Accommodate or Modify Musical Instruction for a Student with ADHD and/or Dyslexia" is included in this dissertation to provide useful information, multisensory techniques, and suggestions to help students with these learning disabilities achieve better success in the music …

Marilyn Shrude is a champion for contemporary concert music. Throughout her career, she has written multiple works including the saxophone that utilize its unique timbre. Atonality is a chief characteristic of her compositional style. Her contributions to the saxophone repertoire include solos, duos with piano, chamber works, quartets and larger works with band. This study surveys five chamber pieces that include saxophone with diverse instruments written by Marilyn Shrude. The pieces includes are Splintered Visions (1985), Notturno: In Memorium Toru Takemitsu (1996), Transparent Eyes (2000), Face of the Moon (2000) and Within Silence (2012). The analysis of each work includes information pertaining to the creation of cohesion and atonality throughout the piece.

This dissertation considers the use of orchestra bells as a solo instrument. I use three examples taken from chamber literature (Drumming by Steve Reich, Why Patterns? by Morton Feldman, and Ave by Franco Donatoni) to demonstrate uses of the instrument in an ensemble setting. I use six solo, unaccompanied orchestra bell pieces (Twelve Bell Canons by Robert Morris, Katarynka by Marta Ptaszyńska, Over by Stuart Saunders Smith, A Little Suite and an Encore Tango by Will Ogdon, Breaks Through by Lafayette Gilchrist, and Bells for New Orleans by Roscoe Mitchell) to illustrate the instrument’s expressive, communicative ability. In the discussion of each piece, I include brief background information, the composer’s musical language in the piece and performance considerations. I interviewed composers of these solo works to complete the research for this document to discuss their musical language and their thoughts on writing for solo orchestra bells.

For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical …

Bulgaria, though a fairly small Eastern European country, boasts an ancient history of folk traditions and music; however, very few notated works exist due to the people's primitive lifestyle throughout Bulgaria's history. Singing and dancing as well as creating instruments from wood and animal skin were considered an integral part of everyday life, equal to cooking, sewing, herding, or farming; in fact, one almost always accompanied the other. Thus, more than 1500 years of folklore was orally passed on and preserved generation after generation; however, nothing was notated until only very recently when Bulgarians realized the cultural and national value of their history. After the liberation from Ottoman Rule (1453-1877) a nationalist movement spread throughout the Balkan countries, which resulted in the emergence of Bulgarian composers. Music and songs from the local folk traditions evolved, developed, and - with notation - became the foundation for the vocal and instrumental music of the so-called first generation of Bulgarian composers. Around the turn of the century, many Bulgarian artists and musicians traveled to Western Europe (mostly Austria, Germany, and Russia) and upon their return, their artistic output created an original mixture of Bulgarian national folk with influences from Western classical music. After …

The purpose of this project is to conduct and analysis of the role and symbolism of the trumpet in two early eighteenth century Spanish music dramas: La Guerra de los Gigantes by Sebastian Duron and Los Desagravios de Troya by Joaquin Martinez de la Roca.

There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. …