Electronic Theses and Dissertations Archive

Date

2026

Document Type

Dissertation

Degree Name

Doctor of Musical Arts

Department

Music

Committee Chair

David Spencer

Committee Chair

Zachary Corpus

Committee Member

David Spencer

Committee Member

Joel Roberts

Committee Member

Jonathan Tsay

Committee Member

Martin McCain

Committee Member

Zachary Corpus

Abstract

This dissertation addresses the absence of pre-nineteenth-century repertoire for the tuba and euphonium by demonstrating the pedagogical and musical viability of adapting Late Medieval, Renaissance, and Baroque works for tuba/euphonium quartet. Because the tuba and euphonium emerged only after the invention of the valve in the nineteenth century, no original repertoire exists for these instruments from earlier periods. Consequently, low brass chamber literature has remained largely confined to modern compositions, limiting student engagement with modal harmony, imitative counterpoint, isorhythmic structure, basso continuo practice, and early formal design. Through historically informed and methodologically grounded transcription, this project expands the quartet canon while preserving stylistic integrity. Repertoire was selected according to six criteria: historical centrality, genre representation, four-part adaptability, tessitura suitability, breath feasibility, and pedagogical value. Emphasis was placed on four-voice textures in order to maintain structural completeness without significant editing. Across three eras, representative composers include Philippe de Vitry, Guillaume de Machaut, Josquin des Prez, Francisco de Peñalosa, Giovanni Gabrieli, Heinrich Ignaz Franz von Biber, Arcangelo Corelli, and Georg Philipp Telemann. Genres explored include the isorhythmic motet, ballade, Mass Ordinary movements, Renaissance chanson and motet, instrumental canzona, sonata, dance suite, and concerto. While challenges arose, particularly regarding range distribution, continuo realization, breathing demands, and the translation of text-driven expressivity into instrumental performance, these were addressed through careful transposition, octave displacement, redistribution of lines, and editorial markings. Four-voice sacred and chamber-oriented works proved especially adaptable, whereas larger polyphonic textures required more substantial intervention. Pedagogically, these transcriptions cultivate rhythmic independence, tonal blend, modal awareness, contrapuntal listening, stylistic articulation, and ensemble accountability. Intended for advanced secondary-school and early post-secondary-school performers, they serve as both repertoire expansion and a bridge between secondary and collegiate study. Ultimately, this study affirms that early music can function meaningfully within low brass chamber performance, positioning the tuba and euphonium not as historically excluded instruments, but as modern participants in a broader musical lineage.

Comments

Data is provided by the student.

Library Comment

Dissertation or thesis originally submitted to ProQuest/Clarivate.

Notes

Open Access.

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