▼ The purpose of this document was to explore the pedagogical techniques of legato trombone. Professional trombone books, method books, articles and web-pages were surveyed in order to understand legato pedagogy and to see if there were changes over the past century or differences in pedagogy throughout world regions. The most common legato pedagogy was highlighted and used in comparison to pedagogy taught in three distinct areas of literature: trombone specific method books, brass method books for pre-service and in-service music educators, and beginning band methods. This comparison was used to reveal gaps between the pedagogical techniques shown in beginning band methods and those that are generally accepted by trombone pedagogues. Through this survey, those methods books which best apply the professional pedagogy are endorsed. Tables containing comprehensive lists of trombone specific method books, brass method books for pre-service and in-service music educators, and beginning band methods are found in the appendices. These tables supply data concerning the legato pedagogy in each method book, which allows trombonists and music educators to quickly compare the pedagogy in method books. It is hoped that through this project the understanding of legato performance on trombone will increase. This will enable pedagogues of beginning, intermediate, and advanced trombone students to use the best possible and most personally adequate techniques in teaching legato trombone. Advisors/Committee Members: Anderson, Timothy.

▼ This document examines the pedagogical and performance uses of the songs of Gustav Mahler. It also includes transcribed trombone versions of 32 of Mahler's songs, written to both emulate the original vocal pieces and to take advantage of the trombone's range, technical facility and dynamic capabilities. These transcriptions can be performed with the existing vocal/piano scores. Gustav Mahler's songs work particularly well as instrumental transcriptions because of his beautiful melodies, his symphonic compositional style, his emphasis of thematic development over text declamation, and his inclusion of so many expressive elements into the accompaniments of his songs. They are particularly well suited to performance on trombone because many are written in a baritone register, using the full range of dynamics and articulation styles to express various emotions and settings.The transcribed song is truly a neglected source of music for trombonists, and both student and professional trombonists have a great deal to gain by including transcriptions of Mahler's songs in their repertoires. By studying these song transcriptions, trombonists can improve their fundamental concepts of legato style, phrasing, and musical expression, leading to a singing style of playing. And, they can include pieces by one of the master composers in their performance programs. Advisors/Committee Members: Northcut, Timothy.

▼ The purpose of this document is to provide a resource from which trombone instructors can obtain information about 102 published works for trombone that use the avant-garde technique of multiphonics, as generated through a variety of means. This annotated database will include general information about each published work that includes composer, title, arranger/editor (if appropriate), publisher, copyright date, commercial availability, range, trombone(s) required for performance, accompaniment instrumentation required, other performance requirements (electronics, mutes, specific venue, etc.), print quality, known misprints in the score or parts, level of difficulty, and a synopsis of the work. It will also include specific information on the multiphonics performance practice required such as the consonance or dissonance of the multiphonics produced, specific intervals to be sung, resultant chords, and tessitura of played and sung pitches. It will specify whether the performer must sing above or below the played pitch and if multiphonics are generated in other ways besides the more traditional method of simultaneous singing and playing, such as lip multiphonics, multiple sonorities produced with mutes, by varying the oral cavity shape, by vowel sounds, etc. In addition to the individual database record generated for each published composition, chapters will include a brief explanation, history, and science of multiphonics performance practice and an explanation of database categories. Compositions will be indexed by composer, chapter entry, trombone(s) required, and specific multiphonic performance technique. It is hoped that the information in this database will allow trombone professors and students to make informed decisions about the personal performance viability of a particular work. Advisors/Committee Members: Vining, David.

▼ The purpose of this study was to begin the investigation of determining whether or not performing from memory improves intonation on trombone. One practice strategy associated with music memorization on trombone, sing and slide, was isolated from the process of music memorization and employed by 27 college undergraduate and graduate trombonists. Each subject sight-read a musical phrase (pretest), used the practice strategy three times, and performed the same musical phrase again (posttest). The pretest and posttest pitches were evaluated for frequency in Hertz. Quantitative measurements were recorded of the frequency readings which were subsequently converted to cent deviation from Equal-Tempered pitch at A=440. After participation in the performance portion of the investigation, all subjects were asked a series of questions about their experience and a qualitative measurement was made as well. Data analysis was made of the group as a whole. In addition, a comparison was made between the undergraduate group and the graduate group. Results indicate an overall improvement in intonation after employing the sing and slide technique, however not with high correlation. In addition to the above human subject research, this document includes information about human memory and music memorization on trombone. Advisors/Committee Members: Northcut, Dr. Timothy J.

▼ The purpose of this document is to provide college and private trombone instructors with an annotated database of 52 selected original tenor trombone duets published from1928 - 2006. This database consists of composer, title, copyright date, publisher, level of difficulty, availability, range of both parts, clefs used, mutes used, and trombone type required for performance as "tenor" or "tenor-bass" (tenor trombone fitted with an F-attachment). It also includes any required extended techniques, such as multiphonics, flutter tonguing, lip trills, etc. Each entry concludes with a description of the work summarizing the overall composition. This resource will allow instructors to have a graded database from which to choose a piece or collection of works that supports the development of the student, including lesser-known compositions that have academic and musical value. Advisors/Committee Members: Northcut, Tim.

▼ This paper examines the literature for bass trombone of the late 1950s and early 1960s in order to establish Thom Ritter George’s Concerto for Bass Trombone as a pivotal work that signaled an abrupt change not only in how composers regarded the instrument, but also what technical demands were expected of players. In the first portion of this paper, music of the past is examined to show that the mechanical developments of the past had a direct influence on the music written for the instrument. Due to the lack of solo material for the instrument before the 1950s, orchestral music is examined to identify perceptions commonly held by composers. Details pertaining to the development of the bass trombone traditions popular in Europe before 1900 is described in detail, as is relevant information drawn from primary sources. There follows a detailed discussion of the rapid changes made to the instrument in the twentieth century, making use of interviews with performers and instrument collectors along with standard reference works.An overview of Dr. George’s career is provided with a biography. Unfortunately, the whereabouts of Robert Braun, the bass trombonist for whom the piece was written, is unknown. The author has used a variety of sources to reconstruct the events leading to the creation of the Concerto and to determine the type of instrument used by Braun for the initial performance.There has been disagreement concerning when the double-valve bass trombone was created. This research examines various sources to show who was responsible for the creation of the instrument and determine that the instrument could not have been used for the initial performance of the George Concerto.A performance assessment is included to show how the modern enhancements to the instrument inspired the techniques used in the Concerto. In order to demonstrate the radical change of technique in the Concerto, performance assessments are included of other works composed during the late 1950s and early 1960s. This data clearly shows how the double-valve bass trombone, and especially the “independent” double-valve bass trombone, makes the Concerto far easier to perform. Advisors/Committee Members: Anderson, Timothy.

▼ Eye Movement Desensitization and Reprocessing (EMDR) is an innovative therapy that is currently used to treat anxiety disorders. Discovered by Francine Shapiro in 1987, the treatment was originally utilized on individuals suffering from Post Traumatic Syndrome Disorder; however, the original treatment protocol has evolved to include other forms of trauma such as performance anxiety. The main hypothesis of EMDR states that traumatic memories cause the nervous system to become dysfunctional and unbalanced. As a result, stimuli such as sound and images from these events are looped continuously within the nervous system until the body can functionally process the events toward an adaptive solution. Until a solution is established, the original thoughts and feelings encountered during previous disturbing events resurface each time a resembling experience occurs. EMDR serves as a performance enhancement for brass musicians by desensitizing and reprocessing maladaptive memories through bilateral stimulation of both hemispheres of the brain. Advisors/Committee Members: Milligan, Dr. Terence.

▼ This paper examined alto trombone pedagogy from three vantage points. First an in-depth analysis of the alto trombone methods currently available was presented. The methods were analyzed with regard to progressive arrangement, readability of text and music, balance in the use of keys and registers, inclusion of a position chart and orchestral excerpts, and the pedagogical and musical quality of the etudes. The second part of this paper was a study of occurrences of the alto trombone on student recitals in the United States as reported in publications of the International Trombone Association from 1979-2004. The frequency of performances was analyzed as well as the frequency of programming of specific pieces. Finally, a survey was conducted of college-level trombone instructors in the United States. Respondents were asked to provide information about their employment level as a university teacher (full- or part-time), their own study of the alto trombone, their use of methods, solos, and orchestral excerpts to teach the instrument, whether their institution owns an alto trombone, what they believe to be the appropriate level of study to introduce the instrument to a student, their mouthpiece recommendations, and their opinions of the alto trombone methods currently available. The examination of comprehensive alto trombone methods revealed that each one differed in its areas of emphasis. Increased use of the alto trombone on student recitals in the past twenty-six years was evident; the increase has occurred primarily at the graduate level. The concerto by Wagenseil was, by far, the most frequently programmed work. The results from the survey of trombone instructors revealed significant trends. There were similarities between the materials used by teachers in their own study and those that are commonly used to teach current students. The Wagenseil concerto was the most popular choice for appropriate first solo for the alto trombone student. When instructors were asked to rate alto trombone methods, the four volume method by Sluchin received the highest scores by percentage, while the Anderson method was the most widely known. Advisors/Committee Members: Vining, David.