260 research outputs found
Tuba survey results
No full textIn this article, the author explores the absence of tubas in some bands in Canada in 2006. Other bands had lots of tuba players, and this also intrigued the author. The causes of the absence of tubas are indicated, including the failure of some band directors to recruit and retain tuba players. In addition, this article gives a number of tips for retaining tuba players
Essential excerpts for tuba from original works written for wind ensemble
No full text"The need for a standard course of study to assist in preparing students for military band auditions is apparent due to the current number of tuba positions in premier military service band organizations. This examination of Essential Excerpts for Tuba from Original Works Written for Wind Ensemble is intended to be an important document in the field of tuba performance and teaching for practice, preparation, and study of the original wind symphony literature written for tuba. The excerpts included in this text are selected based on a general survey created by the author. The Tuba Excerpt Survey, completed by retired and current premier military service band tuba players and select college and university tuba professors, generated a standard list of excerpts that produced the desired information that finalized the specified essential tuba excerpts to be included and reviewed in this document. By setting performance boundaries, inspecting the musical details of the excerpts, and separating an undergraduate curriculum into appropriate levels of study, a classification and distribution of the found scores and excerpts among different levels is established in this text. Upon examination of these excerpts, additional methodologies and corollary studies have been integrated into the paper to further facilitate student practice and preparation of these essential excerpts for tuba among original compositions written for the wind ensemble medium."--Abstract from author supplied metadata
Cross Training for Tuba: A Pedagogical Approach to Improving the Performance of Tuba Literature Through the Use of Transcriptions
No full textabstract: The modern day tubist has an expanded collection of solo tuba repertoire that continues to grow in quantity and in difficulty, making it necessary to utilize all the tools available to improve musicianship and performance ability. In this capacity, the use of transcribed material serves as a vital method of cross training in order to develop skills which assist the performance of modern tuba literature. Rather than focusing on transcriptions solely to engage with musical eras that the tuba would not otherwise have access to, the tubist can use transcribed material as supplementary or even prerequisite repertoire.
This project examines a cross training style of studying transcriptions for the advancing tubist. Similar to how athletes cross train in two or more sports to improve their abilities, the tubist may cross train with transcriptions in order to improve the technical and musical skills required in modern tuba literature. Transcribed materials will be used to develop facility in the areas of technique, phrasing, and stylistic interpretation using three unique pieces of standard solo tuba repertoire; Krzysztof Penderecki’s Capriccio, the John Williams Tuba Concerto, and Anthony Plog’s Three Miniatures.Dissertation/ThesisDoctoral Dissertation Music 201
Bacterial chemotaxis in an optical trap
No full textAn optical trapping technique is implemented to investigate the chemotactic behavior of a marine bacterial strain Vibrio alginolyticus. The technique takes the advantage that the bacterium has only a single polar flagellum, which can rotate either in the counter-clock-wise or clock-wise direction. The two rotation states of the motor can be readily and instantaneously resolved in the optical trap, allowing the flagellar motor switching rate S(t)to be measured under different chemical stimulations. In this paper the focus will be on the bacterial response to an impulsive change of chemoattractant serine. Despite different propulsion apparati and motility patterns, cells of V. alginolyticus apparently use a similar response as Escherichia coli to regulate their chemotactic behavior. Specifically, we found that the switching rate S(t) of the bacterial motor exhibits a biphasic behavior, showing a fast initial response followed by a slow relaxation to the steady-state switching rate S0. The measured S(t)can be mimicked by a model that has been recently proposed for chemotaxis in E. coli. The similarity in the response to the brief chemical stimulation in these two different bacteria is striking, suggesting that the biphasic response may be evolutionarily conserved. This study also demonstrated that optical tweezers can be a useful tool for chemotaxis studies and should be applicable to other polarly flagellated bacteria. © 2011 Altindal et al
Doubling on Euphonium and Tuba: A Guide for Euphonium Players
No full textAs a euphonium player there has basically been one viable career option: the military. However in the past ten years or so, more and more euphonium players have begun to seriously double on tuba in professional situations. This gives euphonium players a newfound career potential. While more and more euphonium players have been learning to play tuba, there is not yet a written method describing the best way in which to accomplish the task.;The purpose of this research project is to create a set of daily exercises through which a euphonium player may learn to play tuba. This method is designed to build and maintain a high level of skill on both the euphonium and tuba. The method is divided into four large sections: euphonium to BBb tuba doubling, euphonium to CC tuba doubling, euphonium to Eb tuba doubling, and euphonium to F tuba doubling. The author has included exercises derived from personal experience.;Interviews were also conducted with accomplished pedagogues in the United States regarding their approach to teaching the concurrent study of euphonium and tuba. The researcher has composed questions designed to get to the core of the fundamentals of multiple instrumental study. Issues of inquiry include physiological and psychological elements involved in performing on two different brass instruments.;Based on predetermined criteria, the subjects interviewed are Patrick Sheridan, Fritz Kaenzig, and David Zerkel
The Czech stage repertoire for tuba
No full textIn this paper I deal with compositions by Czech authors that contains tuba parts or tuba solos. The following pages contain a lot of interesting pieces of information about the compositions of various genres – from brass and classical music to jazz. Besides the factual information, concerning the origins of particular pieces, or the circumstances of the premieres, the thesis also contains short biographies of the composers. In my opinion the part called “A word from the Author” in particular is very profitable as it cites the composers’ own words about their pieces
Tuba rhetorica: storia di un’immagine fra tradizione letteraria ed epigrafica
No full textA long meta-rhetorical and meta-poetical tradition links the image of the tuba to the enhancement of the stylistic apparatus and expressive efficacy. This topic culminates in classicist Roman literature of 4th-5th century AD (Claudianus, Sidonius, Prudentius, Macrobius); an epigraphic poem (CLE 1403 + 1399 Bücheler) is affected by this cultural climate: the anonymous author uses an auditory metaphor (tuba rhetorica) to praise the excellent rhetorical training of the deceased young people
The tuba sonata by Anthony Plog: preparation and performance through the lens of his repertoire for solo tuba
No full textElectronic Thesis or DissertationThe purpose of this document is to provide those teaching and performing Anthony Plog's Tuba Sonata with information that will help them better prepare this piece of music through a thorough study of the various stylistic and compositional elements of the piece. In addition, this document will seek to highlight the important connections to Plog's other works for tuba, thereby assisting in the preparation and interpretation of Plog's output for the solo tuba. This document is in two parts. The first part documents Plog's musical development throughout his career as a performer and composer, highlights his effort to expand the tuba's solo repertoire, and connects the Tuba Sonata to his larger body of work. The second part presents a thorough study of the technical and musical demands of the Tuba Sonata. Using performance suggestions, including tuba and mute selection, ideas on phrasing, tempo choice, and a discussion of the performer's concept of style, the document provides performers with a better understanding of the challenges encountered in the piece. In addition, practice exercises composed by Plog and the author of this document have been included to assist performers in preparing for the many challenges found throughout the piece
The tuba sonata by Anthony Plog: preparation and performance through the lens of his repertoire for solo tuba
No full textThe purpose of this document is to provide those teaching and performing Anthony Plog's Tuba Sonata with information that will help them better prepare this piece of music through a thorough study of the various stylistic and compositional elements of the piece. In addition, this document will seek to highlight the important connections to Plog's other works for tuba, thereby assisting in the preparation and interpretation of Plog's output for the solo tuba. This document is in two parts. The first part documents Plog's musical development throughout his career as a performer and composer, highlights his effort to expand the tuba's solo repertoire, and connects the Tuba Sonata to his larger body of work. The second part presents a thorough study of the technical and musical demands of the Tuba Sonata. Using performance suggestions, including tuba and mute selection, ideas on phrasing, tempo choice, and a discussion of the performer's concept of style, the document provides performers with a better understanding of the challenges encountered in the piece. In addition, practice exercises composed by Plog and the author of this document have been included to assist performers in preparing for the many challenges found throughout the piece. (Published By University of Alabama Libraries
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