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 …

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.