Doctoral Final Projects--Brass (DM)

Permanent link for this collectionhttps://hdl.handle.net/2022/14077

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21st-century brass pedagogy : modern scientific discoveries and their implications on current brass pedagogy
(Indiana University, 2017-06-24) Sulliman, Jason M.
Since the beginning of brass instruments, much of the information utilized to develop a pedagogical framework for teaching and playing these instruments was developed through personal experience, trial and error, and anecdotal teaching through a largely apprenticeship system. Pedagogical ideas were developed from the vantage point of current information viewed through the lens of conventional thought of the time. Several emerging fields of scientific research have contributed to new information that contradicts what was previously viewed as pedagogically stable ideology. This paper summarizes a history of conventional thought towards human learning and movement, provides a brief description of new and emerging fields of scientific inquiry that have been created/enhanced by technological advancements in measurement equipment, and offers several examples of new ways to apply current scientific beliefs towards conventional brass pedagogy in the form of exercises that c an replace traditional pedagogical exercises based on outdated information.
Antoine Dieppo, Felix Vobaron, and Their Influence on the 19th Century French Style
(Indiana University, 2019-04-26) Velazquez, Rolando
Assessment practices of applied music studio faculty in higher education
(2015-03-12) Dunford, Jeffrey
The purpose of this quantitative study was to understand the assessment practices of applied music studio faculty in higher education. Potential respondents (N = 19,723) were listed as applied music faculty in The College Music Society’s Directory of Music Faculties in Colleges and Universities, U.S. and Canada, 2012 – 2013 and were asked to participate in an online survey. Respondents who completed the survey comprised a response rate of 8.89% (N = 1,754), with 2,123 (10.76%) participants answering at least one question. While the response rate was low, comparisons between the proportion of respondents and potential respondents indicated a high degree of representativeness among the population categories. The findings of this study are grouped and discussed in two central themes: (a) assessment criteria and instruments actually used in the implementation, execution, recording, and reporting of the assessment practices of studio faculty, and (b) influences on assessment practices. Assessment criteria found to be used by respondents included both achievement and non-achievement criteria such as: (a) attendance and punctuality, (b) attitude (participation, effort, leadership, etc.), (c) written assessments, (d) performance assessments, (e) practice assessments (self-recorded). Results regarding how assessment policies are disseminated and applied are discussed. Results indicating the influences on assessment practices include: (a) Former teachers’ influence on the development and implementation of ones assessment practice, (b) The demographics of the applied music student population itself including degree type and level, (c) Adoption of a standards-based curriculum, (d) The education received by the applied music instructor, and (e) How upper administration and / or department heads monitor or guide assessment. In general, results indicate that in many instances there exists a definite need for further reflection, improvement, and development of assessment policy and implementation within the applied music studios of our colleges and universities.
The beginning tubist: a curriculum and supplemental book of duets
(2017-05-05) Clarkson, Genevieve
BRASS ENSEMBLES WITHIN THE UNITED STATES MILITARY: HOW THE DEVELOPMENT OF BRASS CHAMBER MUSIC CONTRIBUTED TO MILITARY BANDS AND HOW IT RELATES TO WHAT IS EXPECTED OF THE PROFESSIONAL TUBIST
(Indiana University, 2024-12-16) Crofton, Max
When hearing the term “military band,” most would think of a full concert band featuring 50+ instrumentalists to include brass, woodwinds, percussion, and occasionally vocalists; however, within the past 60 years, many variations of brass ensembles have emerged from the full military concert band for various reasons. These brass ensembles include brass octets, quintets, quartets, trios, tuba quartets, and have drastically grown in popularity within the military for multiple reasons to include ease of use, practicality, financial reasons, and others. As a result, the tuba has become a necessity not only larger military band ensembles, but multiple brass chamber groups which in turn requires the tubist to become more versatile in order to successfully audition and win one of these band jobs. When compared to other academic research conducted on or how to win an orchestral audition, discussions on military bands are often overlooked. The United States Department of Defense is the single largest employer of musicians in the country, and it is important for students and young professionals to have access to relevant information. Having won my Regional Air Force Band job in 2019 while in college, and a Premier Air Force Band job in 2023, I have a personal connection to this subject matter and understand the details of these jobs. This final project aims to show the early developments of the brass chamber movement starting in the civilian world, and how it began to bleed over to the military bands for its many military- specific benefits, as well as show how various brass ensembles continue to be a necessity for military bands. Lastly, this paper will show how the recent popularity and necessity of military chamber music relates to what is expected of the modern professional tubist in order to successful win an audition within one of the bands.
Brass in color : a new curriculum design for brass pedagogy
(Indiana University, 2021-12-14) Burdette, Sean
Classical and early romantic solo horn repertoire: a historically informed guide for modern performers
(2016-12-07) Miescke, Kevin
A collegiate brass techniques curriculum: an integrated approach
(2012-12-07) French, Todd M., 1974-
The concept of "flow" in brass pedagogy: its history and interrelationship with the theories of Mihaly Csikszentmihalyi
(Indiana University, 2018-04-25) Stemple, Brett
A curriculum for tuba performance in a commercial brass quintet
(2013-12-05) Carlson, Paul (Paul William)
The effects of Hurricane Katrina on the brass bands of New Orleans
(2015-04-28) Vandermeer, Aaron
Effects of stage presence on perceptions of instrumental performance in western classical music
(2012-10-29) Noppe, Alex
Excerpt introductions : introducing the major works of the French horn audition repertory
(Indiana University, 2021-05-02) Holben, Scott
This project contains a series of videos that introduces three excerpts from the French horn repertory. Each excerpt is introduced in general terms in a creative manner meant to inform viewers of important aspects of the work, be it historical, allegorical, or musical. The second part focuses on particular aspects of the excerpts themselves, to explain the various intricacies that students should know about the work. Strauss’s Till Eulenspiegel is primarily concerned with storytelling, and the first video The Story of Till Eulenspiegel illustrates the story that might be present, along with introducing the main themes found in the work. The follow up video, Excerpt Introductions: Strauss Till Eulenspiegel focuses on the opening horn excerpt and guides players in how to approach the excerpt for an audition. Excerpt Introductions: Brahms Symphony No. 3 – Allegretto introduces the excerpt and in an interview with Eric Kim, Brahms Symphony No. 3 Interview with Eric Kim explores what a horn player might learn from a cellist performing the same music material earlier in the movement. Exploring Shostakovich Symphony No. 5 delves into the politics of music in the time of Stalinist Russia, followed by an exploration of the numerous excerpts contained within the work. The written component discusses the creation and purpose for these videos.
François Brémond and the transition from natural horn to valve horn at the Paris Conservatory
(Indiana University, 2020-04-22) Anderson, Burke
From courts to concert halls: an historical overview on the development of the modern trumpet ensemble
(Indiana University, 2020-05-03) Rode, Ian
While one can find a wealth of literature on the historical trumpet ensembles indicative of the Renaissance and Baroque eras, little information exists detailing the development of their modern counterpart. The modern trumpet ensemble refers to an ensemble made up of various types of valved trumpets, which can also include closely related instruments often performed by contemporary trumpeters, such as cornets or flugelhorns. For the sake of this document, a trumpet ensemble must have a minimum of at least four distinct written parts. Over the last several decades, this genre of brass chamber music has grown to span the globe with numerous students, professionals, and amateurs performing its repertoire each year. This document aims to outline how the genre developed and provide greater context to the individuals and entities that have had a profound impact on it. Starting at the turn of the 20th century, one can trace the origins of the modern trumpet ensemble to professional cornet and trumpet quartets active in the United States. While only a handful of these groups existed, they did present audiences with the earliest examples of trumpet ensemble music performed on valved instruments. Concurrent with these ensembles and up to the 1960s, a few composers also wrote a select number of works for trumpet ensemble though the genre remained obscure. Beginning in the 1960s and continuing in the 1970s, however, the modern trumpet ensemble began to take shape and expand as university programs created trumpet ensembles for their students and musicians formed the first contemporary professional groups. The founding of the International Trumpet Guild in 1975 also had a major impact as the organization committed itself to developing and legitimizing the genre. Over the next few decades, trumpet ensembles became a standard part of university prog rams across the United States, more professional ensembles came into existence, and the repertoire of trumpet ensemble music continued to increase. More recently, the founding of the National Trumpet Competition in 1991 and the creation of its trumpet ensemble division in 1997 has had a large impact on the genre by increasing the popularity and accessibility of trumpet ensemble music, raising the level of performance, and serving as an endless source of new repertoire. As of today, practically every trumpeter will participate in trumpet ensemble music in some capacity during their life making the genre a valued component of trumpet related music. The first chapter of this document will detail the historical trumpet ensembles of the past in order to provide context for how trumpet ensemble music existed for much of the instrument’s history. After this discussion, the following chapters will focus on the history and influence of the three most impactful entities on the genre, the International Trumpet Guild, university programs and their participation in the National Trumpet Competition, and professional ensembles. Lastly, the document will conclude with a comprehensive bibliography of published repertoire for the modern trumpet ensemble to serve as a resource for those wishing to further engage this music.
From Dauprat to Berlioz: the origin of Berlioz's orchestral horn writing
(Indiana University, 2018-09-19) Yoder, Erin E.
From hotels to concert halls: the evolution of the North American orchestral hall audition
(2014-05-06) Cumming, Ashley
To secure a seat in a symphony orchestra, musicians across North America face a rigorous and demanding audition. While there are resources suggesting audition strategies, there is little documentation about the history of the audition process and how this has impacted personnel selection over the years. Furthermore, with technology instigating rapid developments in the tools and the accessibility of music, training has changed dramatically this millennium. This project compiles literature on orchestral auditions as well as presenting interviews with forty-two professional hornists and horn pedagogues across North America to create a unique compilation of expert advice, anecdotes and statistics on horn auditions. The project addresses several aspects of the professional horn audition: it summarizes the history of orchestral horn auditions in the United States and Canada, documents notable changes and trends, specifically regarding location, repertoire, the role of the American Federation of Musicians, procedure, artistic demands and surveys the types of technological resources and preparation tools used by applicants today. Through this contextualization, it examines the strengths and weaknesses arising from the orchestral audition’s evolution and from candidates’ ability to access resources, ultimately reaching conclusions on the state and structure of today’s auditions.
Glossary of big band terminology from 1957-1975
(Indiana University, 2022-05-13) Signor, Lexie
The following glossary has been constructed by the author to assist new generations of music educators in their instructional endeavors as they pertain to conducting a big band jazz ensemble. The terms included are organized alphabetically to allow for quick reference when used as stated. Each term has been sourced from repertoire of historical relevance and/or frequency of use in both educational and professional settings. Some symbols have been included so that the reader may research the interpretation of each depending on its context or its particular use by certain composers; since many symbols are interpreted differently depending on these variables, it is important to note and teach their differences. A listing of pertinent recordings has been provided so that the reader may reference the usage and interpretation of these terms as they were played by either the original ensemble led by the composer who chose the term or, if such a recording is unavailable, by an ensemble of equally high performance merit. Within the notation created by notable big bands performing during the years 1957-75, terminology from both the Western art music tradition and jargon specific to the performance practices executed in big band jazz is included within both parts and scores. It is the author’s intent to disambiguate the terminology specific to American Big Band Jazz and clarify the contextual usage of more traditional musical terms to assist in the most thorough and authentic teaching of American Big Band Jazz performance practice.
Handel's complete horn parts : a performer's edition
(Indiana University, 2021-12-14) Stiles, Michael (Michael Paul)
Horn pedagogy evolution: how orchestral excerpts ascended to prominence
(Indiana University, 2019-04-08) Huebscher, Olivier
Over time, the role of orchestral excerpts in horn pedagogy has undergone a profound shift. While excerpts were never ignored, their role has expanded greatly. However, this is not a gradual shift, but instead a reaction to various forces including but not limited to changes in audition procedures as well as the creation of a more rigid orchestral canon. This shift can be observed by looking at the historical record of etude books, method books, and treatises as well as the publication history of orchestral excerpt books. In the twentieth and twenty-first centuries there has been a shift in horn pedagogy towards using orchestral excerpts as primary materials. The idea of having a body of standard works that students must be familiar with is intimately linked to having orchestral excerpts that must be learned. Etude books based on orchestral excerpts were published in the mid nineteenth century and the first excerpt books followed in the tail end of the 1800s. In the first half of the twentieth century excerpt books became more popular, but they were limited due to errors and space constraints. Once there was a standard body of orchestral repertoire that horn students were expected to learn before completing their studies the question of how to teach these materials arose. When orchestra concerts consisted of music written in the last fifteen to twenty years it would not make sense to expect students to diligently work on older material. The development of orchestra auditions has also played a major role in expanding the role of excerpts in horn pedagogy. Usage has shifted towards full parts, a trend that has been accelerated by the ease of acquiring digital copies.

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