Moğol esintili bir repertuvarda trombon icra teknikleri: Mǎ bèi shàng de Chángchéng üzerine bir vaka incelemesi

This article examines trombone performance techniques in Mǎ bèi shàng de Chángchéng, a contemporary solo work derived from Mongolian folk music. Employing a score-based analytical approach grounded in music theory and performance analysis frameworks, the study investigates the relationship between formal organization, pitch structure, and the technical demands articulated in the notated score. The research addresses three principal questions: how Mongolian musical characteristics are represented within a Western staff-notation system; which notational parameters prescribe specific trombone performance techniques; and how these techniques collectively articulate Mongolian musical identity within a contemporary solo repertoire. Methodologically, the study conceptualizes performance practice as being structurally conditioned by the score, treating notation as an active determinant of interpretive and technical decision-making. The trombone score constitutes the primary analytical source, supplemented by publicly available performance recordings to support technical interpretation without engaging in inter-performer comparison. The analysis identifies a clearly delineated A–B–A′ formal design and a melodic organization based on a pentatonic pitch collection centered on the gong mode, which remains structurally stable despite changes in key signature serving transpositional functions. Rhythmic organization is articulated through a stable 4/4 time signature, providing a regular metric framework for phrase construction and articulation. From a performance-technical perspective, the work requires sustained breath management for extended legato phrases, coordinated slide technique and continuous glissandi to ensure pitch connectivity, differentiated articulation patterns to shape rhythmic figuration, strategic mute deployment to regulate timbral differentiation at the formal level, and controlled high-register production to articulate structural climaxes. These techniques function not merely as virtuosic devices but as structural mediators through which vocality, pentatonic modality, and rhythmic imagery associated with Mongolian folk music are translated into the idiom of contemporary solo trombone performance.