Thematische Bibliographien / Trumpet and piano music, Juvenile

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Auswahl der wissenschaftlichen Literatur zum Thema „Trumpet and piano music, Juvenile“

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Veröffentlicht am 4. Juni 2021

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Zeitschriftenartikel zum Thema "Trumpet and piano music, Juvenile"

Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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Anderson, Julian. "MESSIAEN AND THE NOTION OF INFLUENCE." Tempo 63, no. 247 (2009): 2–18. http://dx.doi.org/10.1017/s0040298209000011.

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In 1989, I bought a CD in Paris of the early piano music of André Jolivet. Like many non-French musicians, I had read the name of Jolivet but heard little of his music. Jolivet's reputation as Varèse's leading pupil and the extreme avant-gardist of the pre-World War II group La Jeune France seemed completely at odds with his conventional post-War music occasionally broadcast on Radio 3, such as the Concertos for Trumpet, Piano or Ondes Martenot–music which suggested not fully assimilated influences of Honegger or Hindemith, with little obviously adventurous about it in its rhythmically conserv

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Gudmundsdottir, Helga R. "Discrimination of Simultaneous Melodies." Journal of Research in Music Education 47, no. 2 (1999): 101–10. http://dx.doi.org/10.2307/3345716.

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This study examined first-, third-, and fifth-graders' ( n = 73) ability to hear two simultaneous melodies. Two familiar melodies and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different register and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster and more accurately than the younger ones did. While 70% of the first graders reported hearing two mel

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Geringer, John M., Rebecca B. MacLeod, and Justine K. Sasanfar. "In Tune or Out of Tune." Journal of Research in Music Education 63, no. 1 (2015): 89–101. http://dx.doi.org/10.1177/0022429415572025.

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We studied music majors’ perception of intonation in accompanied solo performances of trumpet, violin, and voice. We were interested in whether listeners would judge pitch deviations of equal magnitude in the three solo performances as equivalent in intonation. Participants were 150 graduate and undergraduate music majors drawn from two large music schools and included 50 students representing each of the following areas of applied music study: voice, wind instruments, and string instruments. Listeners heard solo trumpet, violin, and soprano performances of Ave Maria (Bach/Gounod) accompanied

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Springer, D. Gregory, and Brian A. Silvey. "The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance." Journal of Research in Music Education 66, no. 1 (2018): 92–110. http://dx.doi.org/10.1177/0022429418761044.

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The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improv

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Silvey, Brian A., and D. Gregory Springer. "The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance." Journal of Research in Music Education 67, no. 4 (2019): 481–93. http://dx.doi.org/10.1177/0022429419878148.

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The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Part

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Dunnick, Kim. "Sonata for Horn and Piano, and: Sonata for Trombone and Piano, and: Sonata for Trumpet and Piano (review)." Notes 61, no. 3 (2005): 874–77. http://dx.doi.org/10.1353/not.2005.0008.

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Hanganu, Dumitru. "Concert No.2 for trumpet in ‘B’ and piano by Oleg Negruta: structural and interpretative specification." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 17–22. http://dx.doi.org/10.55383/amtap.2022.2.03.

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Oleg Negruta produced different genre pieces for the trumpet. Out of ample pieces we single out the two concerts that contain difficulties for the execution and represent challenges for the performers. Concert nr.2 for the trumpet in ‘B’ and for the piano was written in 2014 and performed in premiere by the trumpet player and professor Vasile Ciubuc. The interpretative language of Concert nr. 2 is guided by the composer, indicating different terms of tempo and dynamic nuances.. The author used different groups of articulations, such as accents, staccato, legato, detache and others. The musical

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MS., ASHWINI. R. PATIL PROF .V .M. SARDAR. "MUSICAL INSTRUMENTCLASSIFICATION USING MIRTOOLBOX." JournalNX - A Multidisciplinary Peer Reviewed Journal 3, no. 9 (2018): 47–51. https://doi.org/10.5281/zenodo.1143809.

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In this paper, we propose the classification of instruments in continuous melody pieces or non- vocal sound pieces which may contain more kinds of instrument like flute in woodwind family, piano in keyboard, guitar in string, drum in percussion, trumpet in brass family. The various sound of instrument is classified using MIR Toolbox which is music information retrieval toolbox. In this proposed system we use major features set like Tonality, Timber, Rhythm, Pitch, and Energy from MIR Toolbox useful for musical instrument.

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Nasibulina, Alisa V. "THE MUSICAL STYLE OF COMPOSER YURI KASPAROV." Arts education and science 2, no. 39 (2024): 137–46. http://dx.doi.org/10.36871/hon.202402137.

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This article is devoted to the musical style of Yuri Kasparov (b. 1955), Russian composer and music teacher, Professor at the Moscow State Tchaikovsky Conservatory, who writes primarily chamber music. Many of his compositions are scored for a chamber orchestra comprising flute, oboe, clarinet, bassoon, horn, trumpet, trombone, harp, piano, percussion, two violins, viola, cello and double bass (an instrumentation derived from A. Schoenberg’s Chamber Symphony No. 1). His works include over 80 chamber compositions of different genres written for one to 17 instruments. He tends to use non-standard

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Dissertationen zum Thema "Trumpet and piano music, Juvenile"

Gudmundsdottir, Helga Rut. "Music reading errors of young piano students." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82885.

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This study investigated the music-reading errors of 6--13-year-old piano students (n = 35) as they read three unfamiliar musical pieces. The musical pieces were similar in terms of tonality, and rhythmic and melodic complexity, but differed in terms of simultaneity of left- and right hand and complexity of left-hand arrangement. Pitch errors were examined in terms of frequency, placement, and type. Of all pitches played, 23% were incorrect pitches. However, 30% of the incorrect pitches were followed by an immediate correction (self-correction). There were significantly more errors ma

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Thompson, Joshua Ketring. "Libby Larsen's Concerto for Trumpet and Orchestra: an overview and reduction of the orchestral score for trumpet and piano." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1093.

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Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, or

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Dearden, Jennifer Lorien. "The American Trumpet Sonata in the 1950s: An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3982.

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Thesis (D.M.A.)--University of North Texas, 2007. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded May 31, 2004, Apr. 18, 2005, Oct. 24, 2005, and June 11, 2007. Includes bibliographical references (p. 73-74).

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Dovel, Jason. "The Influence of Jazz on the Solo Trumpet Compositions of Eugène Bozza." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5186/.

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This paper investigates the influence of jazz on the nine solo trumpet compositions of the French composer Eugène Bozza (1905-1991). Bozza, like many other French composers in the first half of the 20th century, combines traditional elements of western European art music with innovations of American popular music. While Bozza holds a prominent role as a composer of solo trumpet literature in the mid-20th century, little has been written about the influence of jazz in his works. This paper traces the influences of American jazz upon French composers and analyzes the elements of jazz within Bo

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Korak, John. "A performance analysis of Joseph Turrin's works for solo trumpet, a lecture recital, together with three recitals of selected works by J.S. Bach, E. Bloch, H. Tomasi and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935566/.

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This study addresses on facet of Joseph Turrin's compositional oeuvre: his published works for solo trumpet. Complete histories if all six trumpet compositions are chronicles. A discussion of formal organization and significant style features including harmonic language, melodic style and rhythmic features is included. A detailed performance analysis follows. The degree of difficulty of each work is assessed through an investigation of tessitura, range, melodic contour, endurance factors, fingerings, and technical features of the accompaniment. Analysis of tempi and dynamics, articulation and

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Mueller, Paul Martin. "An examination of George Frideric Handel’s “Let the bright seraphim” from Samson, Franz Joseph Haydn’s Concerto for trumpet in E flat major, Karl Jenkins’ Salm o Dewi Sant, and Erik Morales’ Concerto for trumpet in C and piano." Kansas State University, 2009. http://hdl.handle.net/2097/1416.

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Master of Music Department of Music Gary C. Mortenson This Master’s report contains biographical, historical, and theoretical analysis as well as stylistic and technical considerations for the four works performed for the author’s Master’s recital on April 29th, 2009. The works are Handel’s aria “Let the Bright Seraphim” from Samson, Franz Joseph Haydn’s Concerto for Trumpet in E Flat Major, Karl Jenkins’ Salm o Dewi Sant, and Erik Morales’ Concerto for Trumpet in C and Piano.

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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.

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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy

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Futer, Paul Edward. "DISCOVERING THREE NEW SOLO WORKS FOR TRUMPET: A GUIDE TO THE HISTORY, ANALYSIS, AND PREPARATION OF ANTHONY PLOG’S SONATA, MARTIN ROKEACH’S RUNNING AT THE TOP OF THE WORLD, AND CHARLES RESKIN’S SONATA FOR TRUMPET AND PIANO." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/382387.

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Music Performance D.M.A. This monograph will serve as a guide to musicians for the preparation and performance of three new works by three living composers: Trumpet Sonata (2010) by Anthony Plog, Running at the Top of the World (2012) by Martin Rokeach, and Sonata - for trumpet and piano (2007) by Charles Reskin. Included will be sections or chapters on the history and background of each work, biographical information about each composer, detailed theoretical analysis and exclusive interviews with the composers. Each individual interview will provide insight into the music, including inf

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Monroe, Jonathan. "A Selection of Nineteenth Century Trumpet Literature for Low F Trumpet: A Performance Edition of F.G.A. Dauverné's Variations op. 3 and Amilcare Ponchielli's Concerto per Tromba e Banda op. 123." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984202/.

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This dissertation presents a performance guide of two solos for early valved trumpet, as well as an appraisal of their historical significance. The first of these solos is F. G. A. Dauverné's Variations pour trompette à pistons avec accompagnement de Piano-forte, op. 3 (1833). The second solo examined is Amilcare Ponchielli's Concerto per Tromba e Banda, op. 123 (1866). Although Ponchielli's work dates from only the middle of the century, by time of its composition the valved trumpet had already been developed enough to have attained true artistic value. This dissertation provides evidence con

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Ljunggren, Oliver. "Bleckblås eller träblås : En studie i emotionellt uttryck." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53021.

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This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and tw

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Bücher zum Thema "Trumpet and piano music, Juvenile"

Thielemann, Kristin. Mein erstes Konzert: 26 leichte Vortragsstücke aus 5 Jahrhunderten : für Trompete in B und Klavier = My first concert : 26 easy concert pieces from 5 centuries : for trumpet in B and piano. Schott, 2017.

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Appledorn, Mary Jeanne Van. Incantations: For trumpet and piano. Sisra Publications, 1992.

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Haack, Paul. 1812 riff: For trumpet and piano. Southern Music, 1987.

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Solomon, Edward S. Ballade in D minor for trumpet and piano. Southern Music Co., 1987.

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Satie, Erik. La statue retrouvée: Pour trompette en ut et orgue (ou piano). Salabert, 1995.

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Isadora, Rachel. Ben's trumpet. Scholastic, 1989.

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Isadora, Rachel. Ben's trumpet. Scholastic, 1989.

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illustrator, Cattish Anna, ed. Snaring the trumpet. Calico, an imprint of Magic Wagon, 2015.

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Wedding Trumpet Solos Trumpet Piano. Hal Leonard Publishing Corporation, 2011.

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Adèle. Adele: Trumpet. Leonard Corporation, Hal, 2016.

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Buchteile zum Thema "Trumpet and piano music, Juvenile"

Wilson, Charles Reagan. "7. Hybrid sounds." In The American South. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780199943517.003.0008.

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‘Hybrid sounds’ highlights southern music. The first association of music with the American South came from the presence of African American slaves. The pre-Civil War blackface minstrel shows displayed southern connections in its imagery of the plantation. After emancipation, African Americans gained employment in such groups as the Georgia Minstrels, as they moved to New Orleans, Memphis, and St. Louis, where they adopted the trumpet, the piano, and other instruments that soon became familiar in the music of black southerners. Sacred music, blues music, jazz, and folk music were all important

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Williams, Martin. "How Long Has This Been Going On?" In Jazz In Its Time. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195069044.003.0012.

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Abstract Wynton Marsalis is not the first jazz musician to perform classical music, but he is surely the most widely accepted and the most popular. Marsalis is also obviously one of the most musically outstanding young jazz musicians in over a decade. His work might be called a synthesis, a virtuoso summary of everything that jazz trumpet has ever achieved and ever been. Marsalis is not the first about whom such a statement might be said. Almost a decade ago, it was obvious that Stanley Cowell (for one) was a comparable virtuoso for jazz piano and its history. Marsalis also has a counterpart i

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Bazzana, Kevin. "Dynamics." In Glenn Gould. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166566.003.0008.

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Abstract Gould’S Control Of dynamics was no less extraordinary than his control of rhyrhm; indeed, the two generally operated in tandem. Listen to his piano recording of Wagner’s Siegfried Idyll· on the immediate level the dynamic level rises and falls as the mood of the music demands, yet on the largest level one hears him realizing the whole work-all twenty-four minutes’ worth-as a single, great dynamic hairpin that reaches a climax in bars 295-307, the passage in which the trumpet makes its only appearance in the original; in the final pages, from that climax to the end, his control over th

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Williams, Martin. "World Saxophone Quartet Four in One." In The Jazz Tradition. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195078152.003.0024.

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Abstract Wynton Marsalis was not the first jazz musician to have per formed “classical “ music. He had centered his attention fully on jazz by the late 1980s, but when he played Bach and Haydn he was surely the most widely accepted jazzman ever to have undertaken the European classics. Marsalis was also obviously one of the most outstanding young jazz musicians to have come along in over a decade. His work might be called a synthesis, a summary, with surpassing virtuosity, of every thing that jazz trumpet had achieved and had ever been. But Marsalis was not the first about whom such a statemen

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Bauer, Amy, and Landon Morrison. "Electroacoustics, Optics, and Microtonal Aesthetics in the Music of Georg Friedrich Haas." In The Oxford Handbook of Spectral Music. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.37.

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Abstract The music of Austrian composer Georg Friedrich Haas (b. 1953) is often aligned with the spectralist school of composition, although the composer resists descriptions of his approach that characterize it in terms of any one technical attribute, choosing instead to construct a heterogeneous microtonal aesthetic that cuts across conventional boundaries of genre and style. Haas’s prodigious and varied output since the eighties treats instrumental sound-color and texture as central elements of musical discourse. The expressive force of pitch and timbral effects in his music has long been b

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Crow, Bill. "Miles Davis and John Coltrane." In Jazz Anecdotes. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195187953.003.0042.

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Abstract Miles Davis was in the vanguard of modern jazz through several major periods of its development. At the beginning of his career, while jamming with Charlie Parker and the other innovators of the bebop era, he was already finding a sound and style that broke away from Dizzy Gillespie’s powerful influence on young trumpet players. Miles was impressed with the sound of men like Freddie Webster and Shorty Baker, and developed a fat, smoky middle-register sound and a sparse style all his own. Davis grew uncomfortable whenever he felt he was repeating himself, continually changing his group

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Nathan, Amy. "The Time Squeeze." In The Young Musician’s Survival Guide. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195367386.003.0003.

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Abstract No time to practice—that’s the number one gripe mentioned by the 200 beginners (ages 10 to 14) who were surveyed about their musical headaches for this book. Finding time is a problem every musician has to deal with, including our troupe of pros and older teen advisors. Not all of them have always been eager to make time for yet another run-through. When trumpet wiz Wynton Marsalis was in elementary school, he definitely had not yet become a never-miss-a-day practicer. Flutist Paula Robison remembers in junior high that “there were times I didn’t want to practice. When you’re that age

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Giddins, Gary. "New Tunes for an Old Ax (Joe Morris)." In Weather Bird. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0044.

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Abstract Joe Morris, the 42-year-old New Haven-born guitarist, is nothing if not original—he plays his weathered, compact black Gibson like an obsessive who can’t be bothered with what fellow guitarists do. But his originality stems in part from the unlikeliness of his inspirations. He doesn’t play generic guitar music, having adapted precepts, concepts, and even phrases from musicians who play piano, saxophone, and other instruments. This sort of thing is not unusual in jazz. Roy Eldridge sounded like no other trumpet player of the 1930s, because he siphoned many of his ideas from saxophonist

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"flashed in one visual field (here the picture of the violin is flashed in the left visual field), it is conveyed to the contralateral hemisphere (here the right hemisphere). In normal subjects, because of visual transfer across the corpus callosum, both hemispheres see the picture; in split-brain patients, no such transfer is possible, so only one hemisphere sees the picture. A tachistoscope is used to flash the picture for 150msec, faster than the eye can move, otherwise the picture might reach both hemispheres because of eye movements. A fast Fourier transform of the first 400msec of the violin sound is shown at the top of the figure [y axis=time in msec, x=kilohertz (kHz, or 1000cps), and height=relative amplitude (quantized sample value units)]. An example of one of the five melodic structures used to present the instrument sounds (here chromatic-variable) is also shown. In the next trial, a trumpet will play and a picture of a piano is flashed to the left hemisphere, and so on. (See text for further details of the experimental procedure)." In Music and the Cognitive Sciences 1990. Routledge, 2004. http://dx.doi.org/10.4324/9780203393284-44.

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Konferenzberichte zum Thema "Trumpet and piano music, Juvenile"

Hanganu, Dumitru, and Svetlana Badrajan. "Aspects of the treatment of the technical-expressive and interpretative means of the trumpet in the Concert Study by Alexandr Sochireanschii and Oleandra by Vladimir Slivinskii." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.05.

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The instrumental chamber music works by composers from the Republic of Moldova are rich and diverse, both in terms of the musical genres addressed and the instruments required, either for the ensemble or solo parts. The trumpet, an instrument with wide technicalinterpretative and expressive possibilities, offers composers an ample opportunity for harnessing its potential. The two works, which we will analyze from an interpretive point of view – “The Concert Study” for trumpet and piano (in B) by Alexandr Sokireanski (1977) and “Oleandra” for trumpet and piano (in B) by Vladimir Slivinski (1979

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