Publication Date

2009-12-21

Availability

Open access

Degree Type

Lecture Document

Degree Name

Doctor of Musical Arts (DMA)

Department

Instrumental Performance (Music)

Date of Defense

2009-11-19

First Committee Member

Craig Morris - Committee Chair

Second Committee Member

Gary Green - Committee Member

Third Committee Member

Timothy Conner - Committee Member

Fourth Committee Member

Nicholas DeCarbo - Outside Committee Member

Abstract

The development of solo literature for the bass trombone came relatively late in the history of instruments. Though the development of solo literature for this instrument and the birth and development of jazz occurring at the same time in history may be coincidental, the influence of one on the other is undeniable. Because of the large percentage of solo bass trombone literature that is influenced by jazz due to this coincidence, it is necessary that even a classically trained bass trombonist include jazz as a part of the study curriculum. In order to exemplify the influences of jazz harmony and jazz style on bass trombone literature, it was decided that the pieces chosen would be either from the library of standard bass trombone literature or would be an outstanding example for this topic. Then, the stylistic influences must be proved as being derived from the jazz idiom. The same must be shown true for any jazz harmonies discussed. For this topic, the following pieces were chosen: Eugène Bozza's New Orleans composed in 1962, Alec Wilder's Sonata for Bass Trombone and Piano composed in 1969, and Daniel Schnyder's subZERO: Concerto for Bass Trombone and Orchestra composed in 1999.

Keywords

Jazz; Harmony; Bass Trombone

Share

COinS