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University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ CURRENT TRENDS IN ALTO TROMBONE PEDAGOGY IN THE UNITED STATES A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctorate of Musical Arts (D.M.A.) in the Performance Studies Division of the College-Conservatory of Music 2005 by DOUGLAS G. WARNER B.M., University of Tennessee at Chattanooga, 1988 M.M., University of Cincinnati College-Conservatory of Music, 1997 Committee Chair: David Vining ABSTRACT This paper examined alto trombone pedagogy from three vantage points. First an in-depth analysis of the alto trombone methods currently available was presented. The methods were analyzed with regard to progressive arrangement, readability of text and music, balance in the use of keys and registers, inclusion of a position chart and orchestral excerpts, and the pedagogical and musical quality of the etudes. The second part of this paper was a study of occurrences of the alto trombone on student recitals in the United States as reported in publications of the International Trombone Association from 1979-2004. The frequency of performances was analyzed as well as the frequency of programming of specific pieces. Finally, a survey was conducted of college-level trombone instructors in the United States. Respondents were asked to provide information about their employment level as a university teacher (full- or part-time), their own study of the alto trombone, their use of methods, solos, and orchestral excerpts to teach the instrument, whether their institution owns an alto trombone, what they believe to be the appropriate level of study to introduce the instrument to a student, their mouthpiece recommendations, and their opinions of the alto trombone methods currently available. The examination of comprehensive alto trombone methods revealed that each one differed in its areas of emphasis. Increased use of the alto trombone on student recitals in the past twenty-six years was evident; the increase has occurred primarily at the graduate level. The concerto by Wagenseil was, by far, the most frequently programmed work. The results from the survey of trombone instructors revealed significant trends. There were similarities between the materials used by teachers in their own study and those that are commonly used to teach current students. The Wagenseil concerto was the most popular choice for appropriate first solo for the alto trombone student. When instructors were asked to rate alto trombone methods, the four volume method by Sluchin received the highest scores by percentage, while the Anderson method was the most widely known. © 2005 Douglas G. Warner All Rights Reserved ACKNOWLEDGEMENTS I would like to thank my teacher and advisor, David Vining for his direction and insight. The assistance and advice of the other members of my committee, Randy Gardner and Dr. Lizabeth Wing are acknowledged as well. I am grateful to the trombone instructors across the country who participated in the survey for this project. The administration of Lee University has supported my work by providing financial assistance. My colleague, Michael Sturgeon contributed much needed technical assistance. I am most indebted to my wife, Melissa for her patience, support, encouragement, and assistance. I offer my gratitude to my parents, Gerald and Sandra Warner for their encouragement and to my in-laws, Donald and Ruth Ann Kuebler for their support and for countless hours of childcare during the final months of this project. And finally, I thank my two young daughters, Abigail and Morgan, for putting up with a father who has had to spend so many evenings at the computer. CONTENTS LIST OF TABLES............................................................................................................2 LIST OF ILLUSTRATIONS............................................................................................4 CHAPTER I. INTRODUCTION.................................................................................................5 II. A BRIEF HISTORY OF THE ALTO TROMBONE RENAISSANCE................9 III. PEDAGOGICAL MATERIALS CURRENTLY AVAILABLE ........................16 IV. RECENT TRENDS IN STUDENT PERFORMANCE ......................................56 V. CURRENT ALTO TROMBONE PEDAGOGICAL PRACTICE ......................78 VI. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS ....................112 BIBLIOGRAPHY.........................................................................................................117 APPENDIX I. ONLINE SURVEY ............................................................................................122 II. SURVEY SOLICITATION MATERIALS .......................................................130 III. RESPONDENTS’ COMMENTS ......................................................................132 IV. SURVEY RESULTS FROM RANDOMLY SAMPLED NON-RESPONDENTS ...............................................................................150 1 TABLES Table Page 1. Recitals that Listed Alto Trombone...........................................................................60 2. Recitals that Likely Used Alto Trombone .................................................................61 3. Doctoral and Master’s Recitals that Used Alto Trombone........................................63 4. Senior and Junior Recitals with Alto Trombone........................................................66 5. Other and Non-Specific Recitals that Used Alto Trombone .....................................68 6. Overall Percentages of Alto Trombone Use Throughout the Study by Category.........................................................................................................70 7. Alto Trombone Literature: Frequencies and Percentages..........................................72 8. Instructors Who Play Alto Trombone........................................................................82 9. Instructors with Formal Alto Trombone Training .....................................................83 10. Teachers with Whom Respondents Studied Alto Trombone....................................84 11. When Respondents Began Playing Alto Trombone .................................................85 12. Methods Used by Respondents in Their Own Study of Alto Trombone..................86 13. Methods Used by Respondents in Teaching the Alto Trombone .............................88 14. Orchestral Excerpts Used by Respondents in Their Alto Trombone Teaching........90 15. Respondents’ Choices for the Most Appropriate First Orchestral Excerpt for the Alto Trombone Student..............................................................92 16. Solo Literature Used by Respondents in Their Alto Trombone Teaching ...............94 2 17. Respondents’ Choices for the Most Appropriate First Solo for the Alto Trombone Student...............................................................................................95 18. School-Owned Alto Trombones by Brand ...............................................................97 19. Comparison of Schools with Alto Trombones Between Full- and Part-Time Instructors ..........................................................................................98 20. Brand Preferences for Future School Alto Trombone Purchases .............................99 21. Level at Which Alto Trombone Should First Be Taught........................................100 22. Specific Mouthpieces Recommended by Respondents for Alto Trombone Students ...........................................................................................101 23. Ratings for Anderson, Stephen: A complete Method for E-flat Alto Trombone ..........................................................................................................103 24. Ratings for Parow, Karsten: Initiation Complète au Trombone Alto......................103 25. Ratings for Slokar, Branimir: Methode Complete de Trombone Alto ....................104 26. Ratings for Sluchin, Benny: Study Material for Alto Trombone ............................104 27. Overall Ratings for Each Method ...........................................................................105 3 ILLUSTRATIONS Figure Page 1. Three Possible Transposition Methods As They Appear in, Stephen C. Anderson, A Complete Method for E-flat Alto Trombone, vol. I, Introduction, (no page number) ..........................................................................28 2. Roger Harvey, BrassWorkBook for Alto Trombone, Chapter 2-Tuning and Slide Movement, Exercise 15, p.13 .............................................................35 3. Benny Sluchin, comp., Study Material for the Alto Trombone, vol. 1, Chromatic Chart, page 14 ...................................................................................40 4. Giulio Marco Bordogni, Twelve Vocalises, no. 6 (measures 49-61), Transcribed by Benny Sluchin in his Study Material for the Alto Trombone, vol. 2, page 49 ..................................................................................49 5. Wenzel Kopprasch, Eight Duos Concertants pour deux Cors, no. 2 (measures 1-12), Transcribed
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