The Influence Of Jazz On Timbre In Selected Compositions For Solo Trombone

Description:

A significant body of solo literature for the trombone has been written in the last fifty years that draws as much from the jazz tradition as from that of European classical music. While much attention has been paid to these works' use of characteristic jazz rhythms, harmonies and melodic inflections, there has been little focus on timbre, the musical element that perhaps most readily distinguishes jazz from other styles of Western music. This paper focuses on the important role jazz timbres should play in a performer's interpretation of those works that are significantly influenced by jazz. It includes explorations of the significant differences in concepts of timbre between European classical music and jazz, some of the ways in which these timbral differences are produced, and methods by which performers can develop the skills necessary to produce these varied timbres. Particular attention is paid to the importance of timbre to idiomatically appropriate performances of two significant works from the solo trombone repertoire, Robert Suderburg's Night Set (Chamber Music III) and Richard Peaslee's Arrows of Time.

Creator(s): Aldag, Daniel J.
Creation Date: December 2002
Partner(s):
UNT Libraries
Collection(s):
UNT Theses and Dissertations
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Total Uses: 882
Past 30 days: 16
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Publisher Info:
Publisher Name: University of North Texas
Place of Publication: Denton, Texas
Date(s):
  • Creation: December 2002
  • Digitized: July 18, 2007
Description:

A significant body of solo literature for the trombone has been written in the last fifty years that draws as much from the jazz tradition as from that of European classical music. While much attention has been paid to these works' use of characteristic jazz rhythms, harmonies and melodic inflections, there has been little focus on timbre, the musical element that perhaps most readily distinguishes jazz from other styles of Western music. This paper focuses on the important role jazz timbres should play in a performer's interpretation of those works that are significantly influenced by jazz. It includes explorations of the significant differences in concepts of timbre between European classical music and jazz, some of the ways in which these timbral differences are produced, and methods by which performers can develop the skills necessary to produce these varied timbres. Particular attention is paid to the importance of timbre to idiomatically appropriate performances of two significant works from the solo trombone repertoire, Robert Suderburg's Night Set (Chamber Music III) and Richard Peaslee's Arrows of Time.

Degree:
Level: Doctoral
Discipline: Performance
Department: College of Music
Language(s):
Subject(s):
Keyword(s): Timbre | jazz | trombone | Night Set (Chamber Music III) | Arrows of Time | Robert Suderberg | Richard Peaslee
Contributor(s):
Partner:
UNT Libraries
Collection:
UNT Theses and Dissertations
Identifier:
  • OCLC: 52229983 |
  • ARK: ark:/67531/metadc3361
Resource Type: Thesis or Dissertation
Format: Text
Rights:
Access: Public
License: Copyright
Holder: Aldag, Daniel J.
Statement: Copyright is held by the author, unless otherwise noted. All rights reserved.