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Xerox University Microfilms INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 77-2497 SCHUMACHER, S ta n le y E ., 1942- AN ANALYTICAL.STUDY OF PUBLISHED UNACCOMPANIED SOLO LITERATURE FOR BRASS INSTRUMENTS: 1950-1970. The Ohio State University, Ph.D., 1976 Music Xerox University Microfilms, Ann Arbor, Michigan 48106 (c) Copyright by Stanley E. Schumacher 1976 AN ANALYTICAL STUDY OF PUBLISHED UNACCOMPANIED SOLO LITERATURE FOR BRASS INSTRUMENTS: 1950-1970 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Stanley E. Schumacher, B.M., M.M. ***** The Ohio State University 1976 Reading Committee: Approved "by Professor Robert Hare Professor Norman Phelps Professor William Poland 7 g ' t o v AfX.y ' ^ A d v ise r School of Music ACKNOWLEDGEMENTS I wish to thank Professors William Poland and Robert Hare for serving on the reading committee. Their insights into organizational and verbal problems were most beneficial. My sincerest appreciation is extended to my adviser, Professor Norman Phelps. His high standard of scholar­ ship, genuine interest and creative talent are reflected throughout this study. I w ill, of course, assume responsibility for any substantive error or lack of clarity in expression. VITA August 9> 19^2 Born - Indianapolis, Indiana 196^ ...............................................B.M. in Music Education, Butler University, Indianapolis, Indiana 1966 ...............................................M.M, in Music Theory, Butler University, Indianapolis, Indiana 1966-1970 Research and Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio 1970-1973 Administrative Associate, University College, The Ohio State University, Columbus, Ohio PUBLICATIONS Symmetries performers), Media Press, Champaign, Illinois, 1972. FIELDS OF STUDY Major Field: Music Theory Studies in Music Theory. Professor Norman Phelps Studies in Contemporary Theories of Music. Professor William Poland Studies in Music Composition. Professors Marshall Barnes and Herbert Brun Studies in Music History. Professor Herbert Livingston TABLE OF CONTENTS Page ACKNOWLEDGEMENTS................................................................... .................. i i VITA.......................... i i i LIST OF TABLES.......................................................... v i LIST OF EXAMPLES............................................................................................. ix C h a p te r I INTRODUCTION................ 1 I I ANALYSIS OF THEODOR ANTONIOU'S SIX LIKES FOR SOLO TUBA (1 9 6 7 ) .............................................................. 8 I I I ANALYSIS OF HANS ERICH APOSTEL'S SONATINE FUR HORN (F) SOLO, OP. 39*>-- ............................................ IV ANALYSIS OF MALCOLM ARNOLD’S FANTASY FOR TROMBONE . OP. 1 0 1 ............................................................ 6k V ANALYSIS OF LUCIANO BERIO'S SEQUENZA V (1 9 6 6)... 76 VI ANALYSIS OF BARNEY CHILDS' SONATA FOR SOLO TROMBONE (1 9 61) ...................................... 93 V II ANALYSIS OF RANDELL CROLEY’S VARIAZIONI. OP. kk, n o . 3 ( 1 9 6 5) ........................................................................... 113 V III ANALYSIS OF JOHN EATON'S FIVE THOUGHTS FOR SONNY 135 IX ANALYSIS OF EGON WELLESZ'S FANFARES FOR HORN SOLO. OPUS 7 8. ............................................................... 163 X ANALYSIS OF CHARLES WHITTENBERG•S POLYPHONY FOR SOLO C TRUMPET................................................................... 172 XI ANALYSIS OF STEVEN WINICK'S EQUINOCTIAL POINTS. 186 X II SUMMARY................................................................................................. 201 Page APPENDIX A ANNOTATED LIST OF PUBLISHED WORKS............................ 236 B LIST OF PUBLISHERS.......................................................... 252 C COMPOSER BIOGRAPHIES........................................................... 25^ BIBLIOGRAPHY................................................................................................... 263 v LIST OF TABLES T able Page C h a p te r I : INTRODUCTION 1 Publication of Twentieth Century Unaccompanied Solo Brass Pieces .......................................................... 3 C h a p te r I I : ANALYSIS OF THEODOR ANTONIOU'S SIX LIKES FOR SOLO TUBA (1967) 2 Form of Movement I ............ 9 3 Form of Movement II .............. 19 k Form of Movement III ............................. 27 5 Form of Movement IY ................. 32 6 Form of Movement V ........................... 37 7 Unconventional Notational Symbols k6 Chapter III: ANALYSIS OF HANS ERICH APOSTEL'S SONATINE FUR HORN (F) SOLO. OP. 39b 8 Form of Movement I. ..................................... k9 9 Form of Movement II ..................... 53 10 Symmetrical Use of Meters and Tempi in Movement I I . .................. 5^ 11 Form of Movement III ......... 55 C h a p te r IV : ANALYSIS OF MALCOLM ARNOLD'S FANTASY FOR TROMBONE. OP. 10 1 1 2 Form .................................................................................................. 65 C h a p te r V: ANALYSIS OF LUCIANO BERIO'S SEQUENZ.A V (1 966) 13 Form ................................................... 77 Ik Unconventional Notational Symbols .............................. 89 C h a p te r V I : ANALYSIS OF BARNEY CHILDS' SONATA FOR SOLO TROMBONE ( I 96I) 15 Form of Movement I.... .. 9k 16 Form of Movement II. ........................ 102 v i T able Page 1? Inverted Symmetry Between Sections I and III of Movement II .................. 105 18 Variants Used to Construct Form of Movement III 107 19 Relationship of the Variants Within Section D of Movement I I I ....... 109 C h a p te r V II: ANALYSIS OF RANDELL CROLEY'S VARIAZIONI. OP. 44, NO. 3 (1965) 20 Macro-Form . ...................... • • • ................. 113 21 Form of Variation I ..................................................... 115 22 Form of Variation II ................ 117 Form of Variation III ...................................... 121 i l Form of Variation IV ................................. 123 25 Form of Variation V ............. 125 26 Form of Variation VI ....................... 128 27 Form of Variation VII ....................... 130 C h a p te r V I I I : ANALYSIS OF JOHN EATON'S FIVE THOUGHTS FOR SONNY 28 Form of Movement I........ ....... ....... 137 29 Form of Movement II ....................... 142 30 Form of Movement III ................ 145 31 Form of Movement IV.... ........................................ 148 32 Form of Movement V............................................... 150 33 Quarter Tone Fingering Chart for Trumpet . 155 C h a p te r IX : ANALYSIS OF EGON WELLESZ'S FANFARES FOR HORN SOLO. OPUS 78 34 Form of Movement I .............................. 163 35 Form of Movement II................ .............. 169 C h a p te r X: ANALYSIS OF CHARLES VflHITTENBERG'S POLYPHONY FOR SOLO C TRUMPET 3 6 Form ......................................................... .. 37 Implied Directional Counterpoint in Section I, Subsection 2 ...........................:*’*! ................ 38 Implied Directional Counterpoint in Section I, Subsection 3..... 39 Implied Directional Counterpoint in Section I, Subsection 4 ................................................................... 40 v i i T able Page 41 Symmetrical Structure of Section III, Subsection 2.............................. 181 42 Sub-sets of Basic How. ........... 182 C h a p te r X I: ANALYSIS OF STEVEN WINICK'S EQUINOCTIAL POINTS 43 F o rm . .......... 188 44 Magic Square ................................ 191 45 Relationship
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