Doctoral Final Projects--Brass (DM)

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

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AN INSIGHT AND COMPARISON ON SELECTED STANDARD UNDERGRADUATE AND GRADUATE COLLEGE AUDITION REPERTOIRE FOR THE TUBA
(Indiana University, 2023-11-02) Jimenez Morales, Josue
Getting admitted into a world-renowned conservatory, or music school, as a performance major, is heavily based on the level of playing of the student. Being able to identify and meet the performance requirements of undergraduate and graduate degrees is crucial to their success. Moreover, every world-class professional ensemble and college-level teaching job requires a playing audition. Developing the ability to discern the requirements and subsequent mastery of them at an early stage will give the student an advantage in their career. The audition process is challenging, and it requires an athlete-like preparation, organization, and mindset. Students will benefit from the organization of the data collected from each movement, historical significance, and my observations to inform their practice and preparation towards a successful audition. To highlight the general audition requirements of both undergraduate and graduate degrees, four standard works will be used as examples. Two undergraduate works: Hindemith Sonata for Tuba and Gregson Concerto for Tuba, and two graduate works: Castérède Sonatine for Tuba, and John Williams Concerto for Tuba. Ultimately, tuba students auditioning for college will use this document to form their own opinion.
The relationship between native language and brass playing
(Indiana University, 2023-05-05) Cheng, Yu-Hsuan
Introduction: With the increasing number of students studying abroad, brass educators are challenged with teaching students who speak different native languages. This research project aims to investigate the relationship between the native language and brass playing, focusing on horn players who are either native English speakers or native Mandarin speakers. Method: The research was based on a self-evaluated survey sent to horn players worldwide. The survey asked the participants to rate their perceived difficulty levels in executing various horn techniques, describe their general tone qualities and articulation styles, and experience with players from different native language backgrounds and horn educations outside their home country. Results: The research results showed that there were significant differences between the native English speakers and the native Mandarin speakers in terms of their general articulation styles and their perceived difficulty levels of some techniques. Specifically, native English speakers found the following techniques to be easier to perform: ‘consistent sound quality through a phrase’, ‘rhythmic precision and stable pulse’, ‘gentle front ends of notes (softer attacks)’, ‘light-connected articulations in articulated scale passages’, ‘clear separated staccato articulation in scale passages’, ‘clear separated staccato articulation in scale passages’, and ‘flutter tongue’. Also, majority of the native Mandarin speakers described that they have a softer and more mellow articulation styles versus to majority of the native English speakers described that they have a brighter and heavier articulation styles. However, these differences were only found in the more experienced group of horn players who had studied/ played the horn for 20 years or more. No significant differences were found between the native English speakers and native Mandarin speakers in the less experienced group of horn players who have studied/ played the horn between 3 and 19 years. Conclusion: These findings indicate the need for developing teaching methods and exercises to help horn players overcome the barriers created by their native language and leverage the strength brought with their native language. They also suggest that brass educators should be aware of the linguistic backgrounds of their students and tailor their instruction correspondingly. Accordingly, four teaching methods are developed in this project to bridge the barriers and effectively enhance students’ learning outcomes and experience.
Glossary of Big Band Terminology 1957-75
(Indiana University, 2022-05-13) Signor, Alexandra
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.
A Study Guide for Orchestral Excerpts
(Indiana University, 2021-12-17) DeJesús Torres, Yesenia
Brass in color : a new curriculum design for brass pedagogy
(Indiana University, 2021-12-14) Burdette, Sean
Handel's complete horn parts : a performer's edition
(Indiana University, 2021-12-14) Stiles, Michael (Michael Paul)
A new approach to teaching brass methods : a curriculum project
(Indiana University, 2021-12-03) Waugh, Robert (Robert Wayne)
Storytelling through sound : the grammar of musical fluency inspired by the Neapolitan partimento tradition
(Indiana University, 2021-07-20) Webb, Katherine D.
Memoir : successful retraining after musician's dystonia
(Indiana University, 2021-05-02) Chopyk, Logan
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.
WIND BASS: A GUIDE TO PLAYING BASS LINES ON THE TUBA
(Indiana University, 2020-11-18) Pearlberg, Christopher
The use of natural harmonics in contemporary composition
(Indiana University, 2020-12-18) Udell, Nathanael
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.
François Brémond and the transition from natural horn to valve horn at the Paris Conservatory
(Indiana University, 2020-04-22) Anderson, Burke
Antoine Dieppo, Felix Vobaron, and Their Influence on the 19th Century French Style
(Indiana University, 2019-04-26) Velazquez, Rolando
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.
Performance through analysis: the role of the ensemble and performance practice in six modern trumpet concertos with diverse forces
(Indiana University, 2018-12-18) Koehler, William (William Wesley)
The modern bass trombone repertoire: an annotated list and pedagogical guide
(Indiana University, 2018-11-06) Conroy, Evan J. (Evan Joseph)
The trumpet teacher's handbook: a comprehensive musicianship guide
(Indiana University, 2018-11-21) Boylan, Andrew R., 1990-
From Dauprat to Berlioz: the origin of Berlioz's orchestral horn writing
(Indiana University, 2018-09-19) Yoder, Erin E.

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