Date of Award

1989

Document Type

Dissertation

Degree Name

Doctor of Musical Arts (DMA)

Department

Music

First Advisor

Larry B. Campbell

Abstract

The purpose of this study was to explore the role of the euphonium in selected transcriptions of orchestral music for band. Part I of the monograph surveyed orchestral sources for the euphonium parts. Part II examined utilization of the instrument in the works for band. Transcriptions in this monograph represent works from the beginning of the century to the present time and to give examples from the various periods of music. The band works span the twentieth century from 1902 through 1972. In the first section the works were examined according to the following criteria: (1) the key of the original compared to the key of the transcription; (2) parts of the orchestral works from which the euphonium part is derived; (3) use of cuing and octave displacement in the construction of the euphonium part; and, (4) treatment of idiomatic orchestral effects. Each work was discussed and compared according to the percentage of notes representing the orchestral sources. Part II examined the use of the instrument in melodic, countermelodic, harmonic, and rhythmic figures. Melodic and countermelodic figures were examined as used with members of the clarinet family, saxophone family, bassoon, horn, trombone, tuba, and combinations of the above. Harmonic and rhythmic figures explored the use of the instrument as an accompanying instrument. The figures were divided into five categories. They are sustained harmonic figures, pedal point, ostinato-like patterns, arpeggiated figures, and rhythmic accompaniment figures. Among the conclusions drawn were the following: (1) the cello consistently provided a majority of notes to the euphonium part, followed by the bassoon, horn, viola, and trombone; (2) the use of octave displacement is very important in the adaptation of string parts for performance by the euphonium in these transcriptions; (3) cued notes in the transcriptions were used less as the century progressed; (4) transcribers took liberties in the adaptation of string techniques; and, (5) versatility of the euphonium enables it to perform with many instrumental groups in a variety of melodic, countermelodic, harmonic, and rhythmic settings.

Pages

177

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