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Abstract

This thesis examines the emergence, decline and re-emergence of the
trombone as relating to its use within ensemble music of the seventeenth and
eighteenth centuries. It consists of three chapters which include a historical
study into the technical development of the trombone, the growth of
performance practices pertaining to th~ instrument and the usage of the
trombone within ensembles during this period.
The thesis begins with a discussion on the general knowledge of the
trombone's early history and physical development which is mainly drawn
from secondary sources. It is concerned with the great Ni.imburg instrument
manufacturing families, trombone construction specifications and the working
mechanics of the instrument.
The second chapter involves a study on the development of the trombone's
technical growth in relation to range, technical facility and its ability to control
volume, intonation and tone colour. A~so contained is an examination of
articulation and ornamentation practices that were likely to be employed by
trombonists during the seventeenth and eighteenth centuries. The chapter
continues with investigation of the various soloistic practices of the instrument.
These are supported with musical examples taken from primary sources dealing with topics covering the instrument's vocal sound, technical ability and its employment by baroque and classical composers.
The third and final chapter of the thesis contains a detailed description of
trombone ensemble practices, based on research from primary sources. These
include the trombone's participation in the brilliant Venetian polychoral music
as well as it's use in the major vocal works of the mid- to late Baroque. It also
covers the instrument's involvement in Baroque opera, oratorio and vocal
chamber works. The chapter continues on with a discussion on the role of the
trombone within purely instrumental groups such as Stadtpfeifer, court and
church ensembles.
The final section of chapter three contains a thorough investigation dealing
with the decline and resurgence of the trombone from mid-seventeenth to the
late eighteenth century. Included is a careful consideration of possible reasons ,
behind the decline in the instrument's usage as well as its continued survival
during this period. Supporting this section is a study of the trombone's
presence in the works of Handel, Mozart and Gluck. The chapter concludes
with a brief statement on the importance of trombone usage within the
Moravian Church of eighteenth century colonial America.
This study arrives at a clearer understanding of the trombone's
development, importance, and usage during the seventeenth and eighteenth
centuries. Four general conclusions are reached. First, the trombone due to its
superior construction was able to meet the high musical standards defined by
the early Baroque thus ensuring the instrument's high position of honour.
Second, due to this honoured position, trombonists experienced great growth in
the area of technical facility encouraging composers of the Baroque to include
the instrument in many of their works. Third, the trombone's close association
with religious music was undoubtedly a major cause for its decline and the
instrument was only saved from total obscurity by early eighteenth-century
Viennese court composers. These were men who both valued the trombone's reputation and realised its potential. Finally the trombone actually flourished in a few localities during a time when many historians considered the
instrument to be obsolete.
It is hoped that this study will contribute to the resurgent interest in the
trombone's historical involvement during the seventeenth and eighteenth
centuries.

Item Type:	Thesis - Coursework Master
Authors/Creators:	Mumford, MH
Keywords:	Trombone, Trombone music
Copyright Information:	Copyright 1988 the author - The University is continuing to endeavour to trace the copyright owner(s) and in the meantime this item has been reproduced here in good faith. We would be pleased to hear from the copyright owner(s).
Additional Information:	Thesis (MMus)--University of Tasmania, 1989. Bibliography: leaves 83-88
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