The History and Usage of the Tuba in Russia by Green, James. 2015. Degree: Doctorate. History. The Ohio State University (United States/English). Abstract URL: . .

Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers.

An Analysis and Stylistic Comparison of Five Works for Unaccompanied Tuba by John Stevens by Bedgood, Tracy . 2020. Degree: Doctorate. analysis. The University of Southern Mississippi (United States/English). Abstract URL: . .

In this dissertation, the five unaccompanied works for tuba by John Stevens are examined. The first half of this project is the analysis. The compositions are introduced with their collected background material, which includes the date of composition, programmatic elements (if any), and the circumstances under which the pieces were written. As each piece is analyzed, examples are provided that reveal the primary form and motivic content. Following the analyses, there is a discussion of style that covers musical language, devices, and a comparison of these elements among the pieces featured in the document. In the final section of the dissertation, there is a summary of the discussion and analyses of John Stevens’ five compositions included here. The second half of the document are the collected appendices that include the biographical material provided by the composer, interviews with Stevens, his compositions/arrangements, and a discography. All material is current to the date of the interviews.

Restoring the Euphonium's Legacy As Cello of the Wind Band by Robertson, Gail. 2019. Degree: Doctorate. history. Michigan State University (/). Abstract URL: . .

             The role of the euphonium in wind band literature has evolved during the 20th century.  As Director of Bands and Professor of Euphonium and Tuba at Michigan State University (MSU), Leonard Falcone was also concerned with preserving the euphonium’s legacy as cello of the wind band.  A prime example of how he promoted and featured the euphonium in his own arrangements and transcriptions for band is MSU’s Alma Mater, the MSU Shadows. Early/middle 20th century wind band composers such as Percy Grainger (pianist/ saxophonist), Robert Russell Bennett (violinist/trumpet player), Gustav Holst (violinist/pianist), and John Philip Sousa (violinist) wrote for and treated the euphonium exactly as Falcone described as the “cello of the band.”  These composers created a rich heritage where the euphonium’s role had true independence, it was often featured soloistically, and it was frequently showcased with beautiful countermelodies when there was an opportunity.  Any of the marches by John Philip Sousa, as well as either of Holst’s Suites for Military Band, can serve as fine examples demonstrating the sonic and technical capabilities of the euphonium.  Several articles and dissertations have expressed a concern about and have explored the role of the euphonium in the wind band, including: Leonard Falcone, E. J. Robbins, Brian Bowman, Roger Behrend, David Werden, Robert Pennington Reifsnyder, John Clayton Metcalf, David Stern, Gretchen Renae Bowles, and Jeffrey Sands. Even though the demands on the euphonium’s technique and musicianship in solo literature has increased significantly through the years, in wind band literature from the mid-20th century to the present, the euphonium’s role has sadly diminished.  Composers Vincent Persichetti (pianist), Karel Husa (violinist/ pianist), Frank Ticheli (trumpet player), and John Mackey (never formally studied an instrument) all treat the euphonium differently than that of the earlier wind band composers.  In contrast, composers David Gillingham and James Curnow, who (like Falcone) played euphonium, have a personal applied knowledge of its sonic and technical capabilities.  Not only do they write well for wind band, but they also are amongst the best creators of solo euphonium literature.  As a result, their music frequently features the euphonium and provides more challenges in the modern wind band. The euphonium’s role began to diminish as early as 1921 as described in orchestration books such as Fidler’s, A Handbook of Orchestration, along with the Bassett Horn, the Ophicleide, the Serpent, and theSarrusophone, in a section of the book titled “Notes on some obsolete or rarely used instruments.”[1]  Erroneous information frequently causes the role of the euphonium to be an “afterthought,” and as a result it is often given a much lesser role than it deserves.  Another aspect to consider is that most of the early band literature was orchestral transcriptions where the “cello” part was easily reassigned to the euphonium. It is the author’s hope that this research will help to restore the euphonium’s legacy as “cello of the wind band” by inspiring composers to look beyond the euphonium’s role as derived from standard orchestration texts and seek expanded knowledge through collaborative experiences with euphonium artists when creating new works for wind band.   [1] Florence G. Fidler, A Handbook of Orchestration, (London: K. Paul, Trench, Trubner, 1921).

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JUAN TIZOL AND HIS INFLUENCES ON DUKE ELLINGTON by Robertson, Gail. tba. Degree: Doctorate. History. Michigan State University/Morehead State University (/). Abstract URL: . .

  JUAN TIZOL AND HIS INFLUENCES ON DUKE ELLINGTON Known as the first celebrated valve trombonist in the history of jazz and the most influential jazz pioneer from Puerto Rico, Juan Tizol was an invaluable asset to Duke Ellington and his Orchestra.1 Although he was not considered a great jazz player, Tizol was an important section player in the famous trombone section that was later dubbed “God’s Trombones.”2 For many years he was one of Ellington’s most relied upon music copyists, the primary source of the introduction of Latin rhythms to Ellington’s orchestra, and the only Puerto Rican member. He was also the composer of an entire songbook of works, several of which became some of Ellington’s most requested and performed songs.

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An Ophicleide Repertoire: Appendix and Comments to the Repertoire Itself by Indermuehle, Nicolas. 2014. Degree: Masters. History. Taideyliopiston Sibelius-Akatemia (/). Abstract URL: . .

The ophieleide has been considered by many sourses as an instrument that was a short term predecessor of the tuba. However, further research shows that it is part of the 19th century orchestra sound.This document is a catalog of ophicleide repertoire including its use in orchestra, religious music, wind band, chamber music, circus music, and its use in global music ensembles.

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The purposes of tubists universal brotherhood association : development, literature, performance, an by Smith, Andrew. 2013. Degree: Doctorate. history. UNC Greensboro (United States/English). Abstract URL: . .

The purpose of this project was to document the purposes of Tubists Universal Brotherhood Association, currently known as the International Tuba Euphonium Association, from 1973-2012, and to analyze the effectiveness of the organization in fulfilling the purposes found in its original mission statement. A short history of the organization, along with definitions of the parameters of the project is included. The primary print publication of the organization, the Journal, was examined for evidence of the organization's fulfillment of its mission statement. The original mission statement of the organization was very specific to the written goals of the organization, allowing the writers of articles for the Journal to have clearly defined areas of focus. The articles found within the Journal were examined and categorized into one or more of the purposes found in the mission statement. The results of this research demonstrate that TUBA/ITEA was successful in fulfilling the purposes found in the organization's original mission statement. The articles also reflect that the quantity and quality of articles generally grew over the decades. Further, it is recognized that the organization was able to bring about a more scholarly approach to fulfilling its mission statement. These two outcomes indicate that the members of the tuba and euphonium community will benefit from a documented history of the Journal of the organization. Two areas for further study were identified. First, there were many compositions that were freely distributed with the Journal, known as the "Gem Series." An opportunity exists for scholarly review and analysis of these compositions. Second, an all-inclusive history of the organization would be beneficial, which would include a full listing of personnel involved in leadership positions throughout the organization's history.

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LAS DIFERENTES ESCUELA DE ENSEÑANZA DE LA TUBA EN EL MUNDO. SEMEJANZAS Y DIFERENCIAS: SU INFLUENCIA by HERNANDEZ, HAROLD. 2022-07-02 02:18:54. Degree: Doctorate. pedagogy. UNIV. DE CÓRDOBA, JAÉN, HUELVA Y EXTREMADURA (/). Abstract URL: . .

Spanish Text: Esta tesis doctoral, con la cual, obtuve la calificación “Cum laude” por cuatro universidades aborda el tema de la investigación de las diferentes formas de enseñar la tuba a nivel mundial y sus consecuencias globales partiendo de unos conocimientos empíricos y alguna que otra hipótesis. El constatar en el trabajo diario como docente la variedad de formas de acometer una obra determinada y su posterior proyección sonora dependiendo del tipo de instrumento, fabricación, calidad, forma de emisión del sonido, etc., nos llevó a interesarnos por este tema y su Influencia en España. El objetivo principal de esta tesis fue analizar la diversidad estética, exegética e instrumental de las diferentes escuelas de tuba en el mundo, Alemana, Inglesa, Rusa, Francesa y Estadounidense, desde el surgimiento del instrumento a en el primer tercio del siglo XIX en Alemania y su influencia en nuestro país. Hemos realizado una búsqueda profunda de información con la intención de acercarnos lo máximo posible a la realidad histórica de la tuba en España y la mencionada influencia de las escuelas de enseñanza, reconocidos como cuentos, haciendo un recorrido histórico desde la llegada de la tuba a España en las postrimerías del siglo XIX, su integración en las agrupaciones musicales y el devenir de la enseñanza de la misma, entre otros aspectos, para dilucidar, si es posible, una cuestión que no tiene, de momento, una respuesta clara y generalizada y es si España tiene una escuela propia de enseñanza de la tuba. Como objetivos secundarios que afiancen la idea principal erigimos los siguientes: 1- Establecer con claridad las diferencias y similitudes de las distintas escuelas reconocidas en el mundo antes mencionadas y de la metodología de enseñanza en España en cuanto a:            -Instrumentos          -Metodologia          -Literatura utilizada         -Expansión internacional         -Referentes más destacados. 2- Establecer, mediante la realización de entrevistas, diferencias y similitudes entre los dos perfiles que existen en este medio, el instrumentista y el docente, basándonos en el reconocimiento profesional. 3- Difundir y divulgar los resultados obtenidos mediante nuestro blog didáctico sobre la tuba http://inbbflat.blogspot.com/

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test by test, test. 2023-11-01 00:38:42. Degree: Select Degree:. Select Specialization:. test (test/test). Abstract URL: . .

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