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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artx)r, Ml 48106-1346 USA 800-521-0600 UMI' THE INFLUENCE OF JAZZ AND POPULAR MUSIC ON THE AMERICAN TROMBONE CONCERTO, A SELECTED STUDY OF THE SOLO TROMBONE AND LARGE ENSEMBLE WORKS OF RICHARD PEASLEE, JAMES PUGH, HOWARD BUSS, AND DEXTER MORRILL DMA DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Thomas W. Zugger, M.M. ***** The Ohio State University 2000 DMA Document Committee: Approved by Professor Joseph Duchi, Advisor Professor Charles Waddell ^ ^ Professor Jan Radzynski ^ Advisor School of Music Graduate Program UMI Number 9994831 UMI UMI Microform 9994831 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This document is a study of four works for trombone with large ensemble accompaniment. Each of the works was composed in the last twenty years of the twentieth century by composers who were bom, educated, and reside in the United States. The composers and works are: Concerto For Trombone by Howard Buss, Arrows o f Time by Richard Peaslee, Concerto for Trombone b y Jim Pugh, an d Trombone Concerto, by Dexter Morrill. The goals of this study are to define the jazz and popular music influences in each of the works, and to discern what if any impact the popular culture of the last 40 years in America had on the works of these composers. The jazz and popular influences in each of the works are varied and extensive. Characteristics of Dixieland, Be-bop, Ragtime, and Rock are in evidence in the concertos. Many of the influences are mixed into what is presently called “fusion.” Traits of u Bernstein, Copland, and others are also readily apparent. Each of the compositions shows traits of music indigenous to the United States, and labeled as “American” music. When questioned, the composers replied with interesting and often conflicting views on what is or is not American music. The composers are also in disagreement as to what impact jazz and rock music had on their individual styles, and to what degree they felt these genres would be influencing music in the next century. The composers also mention what they believed the influences on their composing styles are. These answers are compared to the influences which I found in the concertos studied. m This document is gratefully dedicated to my parents, Eugene and Virginia Zugger, for their love and support. IV ACKNOWLEDGMENTS I wish to thank my advisor Joseph Duchi, and the other committee members Charles Waddell and Jan Radzynski. for their support, encouragement, knowledge, and friendship. I would also like to thank Gary Lewis for his musical input and assistance during this degree program. I am very much in debt to the many educators who have shaped my career in music including Curtis Olson, Ed Sarath and Robert Reichard. Their passion for teaching, love of music, and devotion to students, is the example I will continue to attempt to live up to. Finally I would like to thank the four composers; Howard Buss, Dexter Morrill, Richard Peaslee, and Jim Pugh, whose works are analyzed in this document. Their personal input made this document possible, and their works are a wonderful addition to the trombone repertoire. VITA February 8, 1964 Bom 1 9 8 8 B.M. in Education, University of M ichigan 1 9 9 0 -1 9 9 3 Instructor of Trombone, Adrian College, Adrian MI 1993 M.M. in Trombone Performance, Michigan State University 1 9 9 3 -1 9 9 5 Instrumental Music Teacher, Walled Lake MI Public S ch o o ls 1 9 9 5 -1 9 9 8 Graduate Teaching and Research Associate, The Ohio State University 1998-present Assistant Professor of Trombone and Euphonium, Capital University Conservatory of Music, Columbus, OH 1998-present Instructor of Trombone, Mount Vernon Nazarene College, Mt. Vernon, Ohio 2000-present Instructor of Trombone, Kenyon College, Gambler, Ohio VI PUBLICATIONS Thomas Zugger,A Thousand Words, for clarinet and trombone and viola, Lakeland, FL: Brixton Publications, 2000. Thomas Zugger,Legend o f the Sun Bear, for horn quartet or choir, Newton, lA: TAP Music Inc., 2000. Thomas Zugger,M ystic Chant and Dance of the Fire Moon, for trombone choir, Newton, lA: TAP Music Inc., 2000. Thomas Zugger,L am en t, for brass quintet, Washington DC: Timber Ridge Publishing, 2000. Thomas Zugger arr.,Rhosyemedre, for brass quintet, from Ralph Vaughn Williams, Washington DC: Timber Ridge Publishing, 2000. Thomas Zugger arr.,A Little Opera Music, for brass quintet, Washington DC: Timber Ridge Publishing, 2000. Thomas Zugger arr..Finale from Gustav Mahlers Sym phony #2, for trombone choir, Newton, lA: TAP Music Inc., 2000 Thomas Zugger,Three Dances, for clarinet and trombone or bassoon. Lakeland FL: Brixton Publications, 1998. Thomas Zugger,S tr e e t S cen es, duo for clarinet and trombone, Columbia, Missouri: International Trombone Association Press, 1997. vu FIELDS OF STUDY Major Field: Music VUl TABLE OF CONTENTS m së A bstract.................................................................................................................... ii D ed ication.............................................................................................................. iv Acknowledgments................................................................................................. v V ita ........................................................................................................................... v i List of Figures.......................................................................................................... xi Chapters: 1. Introduction................................................................................................. 1 2. Jazz Influences............................................................................................. 5 3. Pop Influences..............................................................................................21 4 . Concerto for Trombone by James Pugh..............................................26 5. Arrows of Time by Richard Peaslee.................................................... 47 6. Trombone Concerto b y H oward J. B u ss........................................... 73 7. Trombone Concerto 1999 by Dexter Morrill....................................85 8. Questions and Answers from the Composers............................... 105 9. Conclusion.................................................................................................110 ix page Bibliography.................................................................................................... 114 UST OF FIGURES Figure Page 2.1 Three methods of notating the swing rhythm.............................. 13 4.1 Standard 1950’s rock bass line............................................................ 3 2 4 .2 Concerto for Trombone by James Pugh, measures 1-6........... 33 4 .3 Concerto for Trombone by James Pugh, measures 10-14 .... 34 4 .4 Concerto for Trombone by James Pugh, measures 7-9........... 35 4.5 Sample guitar solo using repeated riff.............................................. 3 6 4 .6 Concerto for Trombone by James Pugh, measures 22-27 .... 37 4 .7 Concerto for Trombone by James Pugh, measures 92-3........3 8 4 .8 Concerto for Trombone by James Pugh, measures 94-100 . 39 4 .9 Concerto for Trombone by James Pugh, measure 7 7............... 4 0 4 .1 0 Concerto for Trombone by James Pugh, measure 161............4 1 4 .1 1 Concerto for Trombone by James Pugh, movement II measures 1 4 -1 7 .......................................................................................42 4 .1 2 Concerto for Trombone by James Pugh, movement 11 measures 2 7 -3 3 .......................................................................................43 xi 4 .1 3 Concerto for Trombone by James Pugh, movement III measures 60-66 .......................................................................................... 45 5.1 Measures 19-30, Richard Peaslee’s Arrows of Tim e ..................53 5.2 Measures 67-73, Richard Peaslee's
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