Toward a Semiotic Approach to Analyzing the Trombonist's Repertoire

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dc.contributor.advisorKoozin, Timothy
dc.contributor.committeeMemberBarton, Mark
dc.contributor.committeeMemberKauk, Brian
dc.contributor.committeeMemberMurphy, Nancy
dc.contributor.committeeMemberSnyder, John L.
dc.creatorGarza, Paul Victor
dc.creator.orcid0000-0003-2239-0807
dc.date.accessioned2019-09-13T01:40:24Z
dc.date.available2019-09-13T01:40:24Z
dc.date.createdMay 2019
dc.date.issued2019-05
dc.date.submittedMay 2019
dc.date.updated2019-09-13T01:40:24Z
dc.description.abstractThis study seeks to develop a theory of musical gesture that incorporates idiomatic aspects of playing the trombone. Researchers of musical gesture have interrogated idiomatic physical aspects of performing music for voice, piano, and strings, but have mostly overlooked those qualities in brass instruments. Musicologists Trevor Herbert and David Guion have studied historical qualities of the trombone, usually discussing the trombone as a signifier of sacred topics. This view of the trombone is important but far too limited in scope. It seems appropriate that idiomatic aspects of playing the trombone should also be investigated and probed for gestural qualities that might project musical meaning. Drawing on studies in musical gesture (Hatten 2004, Lidov 2004) and brass pedagogy (Fredericksen 1996, Steenstrup 2007), this study connects theories of vocal gesture with trombone performance, illuminating mental similarities in approach to performance as well as physical similarities in sound production between brass instrumentalists and vocalists to apply current research in vocal gesture (Frith 1996, Burns 2001, Heidemann 2016) to the trombone. This theory extends into the realm of embodiment analysis (Larson 2012), and I explore new ways to discuss embodiment as it relates to brass instrumentalists. These findings are applied and refined through analysis of four pillars of the trombonist’s repertoire: Daniel Schnyder’s bass trombone sonata, Arthur Pryor’s Blue Bells of Scotland, Ferdinand David’s Concertino for trombone, and Saskia Apon’s trombone quartet.
dc.description.departmentMusic, Moores School of
dc.format.digitalOriginborn digital
dc.format.mimetypeapplication/pdf
dc.identifier.urihttps://hdl.handle.net/10657/4485
dc.language.isoeng
dc.rightsThe author of this work is the copyright owner. UH Libraries and the Texas Digital Library have their permission to store and provide access to this work. Further transmission, reproduction, or presentation of this work is prohibited except with permission of the author(s).
dc.subjectTrombone
dc.subjectMusic theory
dc.subjectMusic
dc.subjectSemiotics
dc.subjectLow Brass
dc.subjectGestures
dc.subjectPryor
dc.subjectApon
dc.subjectDavid
dc.subjectSchnyder
dc.subjectSemiotics
dc.subjectAnalysis
dc.subject20th century
dc.subjectTwentieth century
dc.subjectMethodology
dc.titleToward a Semiotic Approach to Analyzing the Trombonist's Repertoire
dc.type.dcmiText
dc.type.genreThesis
thesis.degree.collegeKathrine G. McGovern College of the Arts
thesis.degree.departmentMusic, Moores School of
thesis.degree.disciplineMusic
thesis.degree.grantorUniversity of Houston
thesis.degree.levelDoctoral
thesis.degree.nameDoctor of Musical Arts

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