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https://hdl.handle.net/2142/67745
Description
Title
A Study of Selected Music for Trombone and Voice
Author(s)
Isaacson, Charles Frank
Issue Date
1981
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
D.M.A.
Degree Level
Dissertation
Keyword(s)
Music
Language
eng
Abstract
The purpose of this study is to codify and examine the music for trombone and voice. The trombonist's perspective is taken in order to describe the various ways in which the trombone and voice are used together. The music to be considered is composed for solo voice or solo voices combined with writing for trombone or trombones. Parts for other solo instruments may also be included as the music discussed can be characterized as chamber in nature. Works for larger orchestral and choral forces are outside the scope of this study. However, portions of larger works have been included where the above-mentioned conditions exist.
This study of the music for trombone and voice is divided into three parts. The first chapter provides a historical background, where the association of the trombone and voice in the fifteenth and sixteenth centuries is discussed. It is only in this chapter that choral works are mentioned.
The role of the trombone in fifteenth-century music is explored. Its use in both general musical practice and specific works is discussed. From the sixteenth century the role of the trombone in several of the Florentine intermedii is considered. The use of the trombone in the emerging concertato style is also mentioned.
The second chapter presents the music for trombone and voice. The manner of presentation evolved after a detailed examination of approximately ninety works. Because the focus of this study is the use of the trombone in this music, the trombone part in each work was evaluated according to the following criteria: (1) the amount of significant melodic or thematic material assigned to the trombone; (2) the relative prominence of that material in relation to the voice part and any additional parts; and (3) the importance of the trombone to the overall intent or musical effect of the work. Based on this approach to the literature the music for trombone and voice is divided into four categories, each of which defines a different trombone role and different relationship between the trombone and voice. These are: (1) those works containing prominent trombone parts; (2) those works in which the trombone and vocal roles are equal; (3) those works in which the trombone role changes; and (4) those works in which the trombone has a subordinate role. Representative works are discussed at length. Others are mentioned for comparison or brief explanation.
The third chapter provides several perspectives on the music for trombone and voice. The following topics are discussed: (1) a historical perspective of the literature; (2) the works that require more than one trombone; (3) the music using only trombone and voice; (4) a summary of the works studied; and (5) some conclusions regarding this body of works.
Two appendices are included with this study. Appendix A is a list of all works for trombone and voice identified in the course of this study. Appendix B is a list of sixteenth-century pieces which combine trombones, voices, and other instruments. These works are not included in the main body of the study.
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