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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

Description: 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)
Partner: UNT Libraries

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

Description: 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
Partner: UNT Libraries

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

Description: 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 found in Gordon Jacob's compositions. Over half the themes in the works being investigated are built around motivic development. Neoclassicism results from the use of forms rooted in earlier centuries, but the choice of key centers gives these forms a new life. Jacob's composition of absolute music, as well as his use of the older compositional techniques of parallel harmonies and slow introductions, reflect neoclassical practices. The performance of Jacob's pieces is facilitated by his use of musical materials idiomatic to the instrument.
Date: May 1987
Creator: Tucker, Wallace E. (Wallace Edward)
Partner: UNT Libraries