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Selected Works for Solo Tuba by African American Composers
Selected Works for Solo Tuba by African American Composers
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202102942
- ISBN
- 9798293804344
- DDC
- 780
- 저자명
- JeanPaul, Ralph.
- 서명/저자
- Selected Works for Solo Tuba by African American Composers
- 발행사항
- [Sl] : The Florida State University, 2025
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2025
- 형태사항
- 33 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-03, Section: A.
- 주기사항
- Advisor: Hightower, Matthew.
- 학위논문주기
- Thesis (D.M.)--The Florida State University, 2025.
- 초록/해제
- 요약Selected Works for Solo Tuba by African American Composers addresses a critical and long-standing gap in both musicological scholarship and performance practice by identifying, analyzing, and advocating for the contributions of African American composers to the solo tuba repertoire. While scholarship on brass literature has expanded over the past few decades, solo works by African American composers (particularly for low brass instruments) remain underrepresented in research, concert programming, and pedagogical discourse.Historically, the exclusion of Black composers from the canon of Western art music has not merely occurred through individual acts of neglect or oversight. Rather, their marginalization has resulted from systemic forces embedded within the structures of music education, publishing, arts institutions, and performance traditions. The term systemic refers to deep-rooted, institution-wide patterns of exclusion that are perpetuated through policies, curricula, access to resources, and cultural narratives. Unlike the term systematically, which implies a deliberate and methodical process carried out by individuals or organizations, systemic exclusion encompasses broad and often unconscious patterns of marginalization that are upheld by the very systems that define legitimacy in classical music.Methodologically, this study employs a multidisciplinary approach. A contextual literature review situates each work within broader historical, pedagogical, and stylistic trends. Archival research, including the study of manuscripts and program notes, illuminates the composer's intent and aesthetic influences. Critical listening and performance analysis deepens the understanding of interpretive choices, technical demands, and expressive range. These methods, combined, offer a comprehensive lens through which to assess each composition's artistic and pedagogical value.By highlighting the works of Adolphus Hailstork, Kenneth Amis, Shawn Okpebholo, Kevin Day, Quinn Mason, Jasmine Pigott, and William A.R. May, this treatise demonstrates how African American composers have added a unique voice and perspective to the evolution of the tuba as a solo instrument and have expanded the cultural and expressive dimensions of tuba repertoire. These compositions reflect diverse musical idioms (including gospel, jazz, minimalism, and theatrical performance) and challenge performers to engage with themes of identity, resilience, introspection, and innovation.The path to completing this study presented several unique challenges, particularly in the context of solo tuba literature. Much of the research focused on identifying and sourcing tuba solo works by African American composers that have limited distribution or documentation. The scarcity of published analyses or historical commentary on these compositions necessitated deep independent study and interpretive engagement. Through this process, the author has developed a richer understanding of the technical demands, stylistic breadth, and cultural narratives embedded in these works gaining critical insights into the evolving role of the tuba as a solo voice.In addition to its analytical contributions, this treatise reflects the author's growth as a scholar-performer. Researching, rehearsing, and writing about these works has deepened technical insight and cultural awareness, reinforcing the performer's role as an advocate and interpreter of underrepresented voices. Including rehearsal strategies and performance recommendations further enhances the document's applicability for students, educators, and professionals seeking to diversify their repertoire.This research supports a more fair and inclusive musical landscape. It invites the broader tuba and academic communities to integrate these works into curricula, concerts, and commissioning efforts affirming the essential place of African American composers in shaping the future of solo brass literature.
- 일반주제명
- Music
- 일반주제명
- Musical composition
- 일반주제명
- African American studies
- 일반주제명
- Musical performances
- 키워드
- Black composers
- 기타저자
- The Florida State University Music
- 기본자료저록
- Dissertations Abstracts International. 87-03A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■020 ▼a9798293804344
■035 ▼a(MiAaPQ)AAI31298799
■040 ▼aMiAaPQ▼cMiAaPQ
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■1001 ▼aJeanPaul, Ralph.▼0(orcid)0009-0004-8137-9098
■24510▼aSelected Works for Solo Tuba by African American Composers
■260 ▼a[Sl]▼bThe Florida State University▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a33 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-03, Section: A.
■500 ▼aAdvisor: Hightower, Matthew.
■5021 ▼aThesis (D.M.)--The Florida State University, 2025.
■520 ▼aSelected Works for Solo Tuba by African American Composers addresses a critical and long-standing gap in both musicological scholarship and performance practice by identifying, analyzing, and advocating for the contributions of African American composers to the solo tuba repertoire. While scholarship on brass literature has expanded over the past few decades, solo works by African American composers (particularly for low brass instruments) remain underrepresented in research, concert programming, and pedagogical discourse.Historically, the exclusion of Black composers from the canon of Western art music has not merely occurred through individual acts of neglect or oversight. Rather, their marginalization has resulted from systemic forces embedded within the structures of music education, publishing, arts institutions, and performance traditions. The term systemic refers to deep-rooted, institution-wide patterns of exclusion that are perpetuated through policies, curricula, access to resources, and cultural narratives. Unlike the term systematically, which implies a deliberate and methodical process carried out by individuals or organizations, systemic exclusion encompasses broad and often unconscious patterns of marginalization that are upheld by the very systems that define legitimacy in classical music.Methodologically, this study employs a multidisciplinary approach. A contextual literature review situates each work within broader historical, pedagogical, and stylistic trends. Archival research, including the study of manuscripts and program notes, illuminates the composer's intent and aesthetic influences. Critical listening and performance analysis deepens the understanding of interpretive choices, technical demands, and expressive range. These methods, combined, offer a comprehensive lens through which to assess each composition's artistic and pedagogical value.By highlighting the works of Adolphus Hailstork, Kenneth Amis, Shawn Okpebholo, Kevin Day, Quinn Mason, Jasmine Pigott, and William A.R. May, this treatise demonstrates how African American composers have added a unique voice and perspective to the evolution of the tuba as a solo instrument and have expanded the cultural and expressive dimensions of tuba repertoire. These compositions reflect diverse musical idioms (including gospel, jazz, minimalism, and theatrical performance) and challenge performers to engage with themes of identity, resilience, introspection, and innovation.The path to completing this study presented several unique challenges, particularly in the context of solo tuba literature. Much of the research focused on identifying and sourcing tuba solo works by African American composers that have limited distribution or documentation. The scarcity of published analyses or historical commentary on these compositions necessitated deep independent study and interpretive engagement. Through this process, the author has developed a richer understanding of the technical demands, stylistic breadth, and cultural narratives embedded in these works gaining critical insights into the evolving role of the tuba as a solo voice.In addition to its analytical contributions, this treatise reflects the author's growth as a scholar-performer. Researching, rehearsing, and writing about these works has deepened technical insight and cultural awareness, reinforcing the performer's role as an advocate and interpreter of underrepresented voices. Including rehearsal strategies and performance recommendations further enhances the document's applicability for students, educators, and professionals seeking to diversify their repertoire.This research supports a more fair and inclusive musical landscape. It invites the broader tuba and academic communities to integrate these works into curricula, concerts, and commissioning efforts affirming the essential place of African American composers in shaping the future of solo brass literature.
■590 ▼aSchool code: 0071.
■650 4▼aMusic
■650 4▼aMusical composition
■650 4▼aAfrican American studies
■650 4▼aMusical performances
■653 ▼aAfrican American composers
■653 ▼aMusicological scholarship
■653 ▼aPerformance practice
■653 ▼aBlack composers
■690 ▼a0413
■690 ▼a0214
■690 ▼a0943
■690 ▼a0296
■71020▼aThe Florida State University▼bMusic.
■7730 ▼tDissertations Abstracts International▼g87-03A.
■790 ▼a0071
■791 ▼aD.M.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17356516▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
