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The use of Selected Vocalises of Marco Bordogni in the Develpment of Musicianship for the Trombonist, a Lecture Recital, together with Three Recitals of Selected works by Eugene Bozza, Jacques Casterede, Pierre Max Dubois, Christian Gouinguene, Axel Jorgensen, Richard Monaco, Lars-Erik Larsson, Erhard Ragwitz, and Others (open access)

The use of Selected Vocalises of Marco Bordogni in the Develpment of Musicianship for the Trombonist, a Lecture Recital, together with Three Recitals of Selected works by Eugene Bozza, Jacques Casterede, Pierre Max Dubois, Christian Gouinguene, Axel Jorgensen, Richard Monaco, Lars-Erik Larsson, Erhard Ragwitz, and Others

This dissertation consists of three solo recitals and one lecture recital. The repertoire of all programs is composed of music written specifically for the trombone plus two transcriptions of works for voice. The purpose of this paper is to investigate the use of selected vocal pedagogical material as a means of developing musicianship for the trombonist. The historical relationship of the voice and the trombone is traced through written documentation and musical composition. Similarities between the development of legato technique for the vocal student and the trombonist are examined. A brief history of the vocalise and its pedagogical function is presented. The development of expressive musical performance for the trombonist is explored through the use of examples from three different vocalises of Marco Bordogni.
Date: August 1989
Creator: Mitchell, Randall T. (Randall Thomas)
System: The UNT Digital Library
The Trombone Sonatas of Richard A. Monaco (open access)

The Trombone Sonatas of Richard A. Monaco

This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.
Date: December 1988
Creator: Seidel, John A. (John Allen)
System: The UNT Digital Library
The Solo Tenor Trombone Works of Gordon Jacob: A Lecture Recital, Together with Three Recitals of Selected Works by L. Bassett, W. Hartley, B. Blacher, E. Bloch, D. White, F. David, G. Wagenseil, J. Casterede, L. Larson, and Others (open access)

The Solo Tenor Trombone Works of Gordon Jacob: A Lecture Recital, Together with Three Recitals of Selected Works by L. Bassett, W. Hartley, B. Blacher, E. Bloch, D. White, F. David, G. Wagenseil, J. Casterede, L. Larson, and Others

The three recitals consisted of performances of original eighteenth, nineteenth and twentieth century solo works for trombone with the exception of Lyric Suite for Euphonium and Piano by Donald White, Divertimento for Trumpet, Trombone and Piano by Boris Blacher, and Dialogue and Dance for Trombone and Tuba by Newel Kay Brown. The premiere performance of Straight As An Arrow for B-flat-F Trombone and Prepared Tape by Ronn Cox and Dean Crocker was also included. After presenting a brief biography and discussing Gordon Jacob's (1895-1984) stylistic influences, the lecture continues with a Tonal, Motivic and Formal analysis of his three works for solo tenor trombone: Concerto for Trombone and Orchestra, Concertino for Trombone and Wind Orchestra, and the Trombone Sonata. Tonality, modality, polymodality and free association of pitches are elements that are present at one time or another in these compositions. Jacob's inclination for using the folk song style is evident in his writing, especially in the slow movements. Introductions, transition areas, and secondary themes, with tonally ambiguous harmonies and instrumental concepts of melodies, create a tension that is released by the return to tonality in the areas that follow. Treatment of rhythmic and melodic motives helps produce the special quality …
Date: May 1987
Creator: Tucker, Wallace E. (Wallace Edward)
System: The UNT Digital Library
J.S. Bach's Six Suites for Solo Violoncello, BWV 1007-1012; Their History and Problems of Transcription and Performance for the Trombone, a Lecture Recital, Together with Three Recitals of Selected Works by Paul Hindemith, Georg Christoph Wagenseil, Richard Monaco, Darius Milhaud, Nino Rota, Giovanni B. Pergolesi, and Others (open access)

J.S. Bach's Six Suites for Solo Violoncello, BWV 1007-1012; Their History and Problems of Transcription and Performance for the Trombone, a Lecture Recital, Together with Three Recitals of Selected Works by Paul Hindemith, Georg Christoph Wagenseil, Richard Monaco, Darius Milhaud, Nino Rota, Giovanni B. Pergolesi, and Others

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs contained both music written specifically for the trombone and transcriptions from various other instruments. The lecture recital, "J. s. Bach's Six Suites for Solo Violoncello, BWV 1007-1012? Their History and Problems of Transcription and Performance for the Trombone," was presented on June 20, 1983. The lecture was an attempt to illuminate the rationale and performance problems of transcribing the Bach 'cello suites to the modern tenor trombone with an F attachment and also to provide background information on the suites and the early solo emergence of the violoncello. The program included the performance of the Suite No. 2_ in d minor, BWV 1008, with the movements: Prelude, Allemande, Courante, Sarabande, Minuets I and II, and Gigue.
Date: August 1983
Creator: Conger, Robert B. (Robert Brian)
System: The UNT Digital Library
The Solo Trombone Works of Kazimierz Serocki, A Lecture Recital, Together with Three Recitals of Selected Works by W. Hartley, P. Dubois, H. Dutilleux, H. Tomasi, G. Jacobs, L. Grondahl, J. Aubain and Others (open access)

The Solo Trombone Works of Kazimierz Serocki, A Lecture Recital, Together with Three Recitals of Selected Works by W. Hartley, P. Dubois, H. Dutilleux, H. Tomasi, G. Jacobs, L. Grondahl, J. Aubain and Others

The three recitals consisted of performances of original twentieth century solo works for trombone with the exception of two trombone quartets, Adagio, by C. Saint-Saëns, arranged by Ken Murley, and Sonata by Daniel Speer. The lecture recital establishes the position of Kazimierz Serocki (1922-1981) as a major composer not only in Poland but in the rest of the world as well. His many works cover a wide spectrum of styles and genres. The solo trombone works, in particular, are among his most often performed works from his early neoclassic period. The lecture is also an attempt to illuminate the role of neoclassicism in Poland through a brief discussion of Polish neoclassicists, Grażyna Bacewicz and Michael Spisak, and other composers before and after World War II including Constantin Regamey and Roman Haubenstock-Ramati. An analysis of the two solo trombone works, Sonatina and Concerto, shows the technique of composition used by Serocki and the demands placed upon the performer by the music. These works were among the first in a growing list of works for solo trombone composed in response to the notable lack of large scale works of quality for solo trombone during the early twentieth century. The high quality of …
Date: December 1981
Creator: Cox, Joseph L. (Joseph Lee)
System: The UNT Digital Library
The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century a Lecture Recital, Together with Three Recitals of Selected Works of Presser, Bozza, George, Beethoven, Stevens, Wilder, White, Spillman, Tuthill and Others (open access)

The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century a Lecture Recital, Together with Three Recitals of Selected Works of Presser, Bozza, George, Beethoven, Stevens, Wilder, White, Spillman, Tuthill and Others

The dissertation consists of four recitals. Three solo recitals featured a variety of selected works for bass trombone and piano by traditional and contemporary composers. The lecture recital, entitled "The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century," is a study which examines the role of the trombone, both as a solo and ensemble instrument, and the functions of the instrument in ensemble sonatas of the late seventeenth century. The trombone's use in instrumental ensembles was traced from the fifteenth century to the present. The program included selections by German composers Daniel Speer and Matthias Weckmann, and Austrian composers Autonio Bertali, Johann Heinrich Schmelzer and Heinrich Ignaz Franz Biber.
Date: August 1981
Creator: McGrannahan, A. Graydon, III
System: The UNT Digital Library
The Trombone in German and Austrian Concerted Church Music of the Baroque Period: A Lecture Recital, Together with Three Recitals of Selected Works of L. Basset, L. Grondahl, W. Hartley, V. Persichetti, K. Serocki, H. Tomasi, D. White and Others (open access)

The Trombone in German and Austrian Concerted Church Music of the Baroque Period: A Lecture Recital, Together with Three Recitals of Selected Works of L. Basset, L. Grondahl, W. Hartley, V. Persichetti, K. Serocki, H. Tomasi, D. White and Others

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.
Date: August 1974
Creator: Williams, Jeffrey P.
System: The UNT Digital Library
A Short History of the Trombone With Emphasis on Construction Innovations and Performance Modifications From 1945 to 1970 (open access)

A Short History of the Trombone With Emphasis on Construction Innovations and Performance Modifications From 1945 to 1970

For all of recorded history musical instruments have been a source of fascination and curiosity for man. Through a major portion of this time one instrument, the trombone, has evolved with a unique design, character, and history. The earliest trombones, called sackbuts, originally had a sliding mechanism located near the mouthpiece. In the sixteenth century this was improved by the addition of the "U-turn" which facilitated holding and playing. This construction innovation was the last major change in trombone design; the trombone of 1600 was essentially the same as the trombone of today.
Date: May 1971
Creator: Alexander, Ashley
System: The UNT Digital Library