Relevant bibliographies by topics / Concerto for Trumpet and Orchestra

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Concerto for Trumpet and Orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Concerto for Trumpet and Orchestra"

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Horez, Iulian. "16. Trumpet and Orchestra Concert in D Major by Georg Philipp Telemann in Interpretation Vision of Wynton Marsalis and Rafael Méndez." Review of Artistic Education 19, no. 1 (April 1, 2020): 134–39. http://dx.doi.org/10.2478/rae-2020-0016.

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AbstractLike most baroque concerts, the Concerto for trumpet and orchestra in D major by Georg Philipp Telemann raises particular problems of interpretation. It is a concert written in the head register of the trumpet, with frequent references in the acute register. I should mention that the head register of a trumpet depends on its size. At a normal trumpet in and flat (and not piccolo), the acute register is from do (and flat from the first octave) to the next do ascendant. The head register continues from do2 to do3. In the trumpets in do, re, mi flat, fa, sol, the principle remains the same, with a variability depending on the size of the trumpet, except that in the acute record the other notes correspond to that of the flat, but the upper limit is generally the same.
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Carnovale, Norbert, Gunther Schuller, and Robert Waddell. "Concerto for Trumpet and Chamber Orchestra." Notes 43, no. 3 (March 1987): 679. http://dx.doi.org/10.2307/898222.

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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 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, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (January 2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.

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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.
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Gorbal, Y. M. "Professional Training of Military Musicians in Ukrainian Lands at the Turn of the XIX–XX Centuries." Culture of Ukraine, no. 71 (April 2, 2021): 75–81. http://dx.doi.org/10.31516/2410-5325.071.09.

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Abstract. The Armed Forces of Ukraine have strong traditions of musical bands that date back to princely and Cossack times. The task of their orchestras is to boost the morale of servicemen, to strengthen the power of the Ukrainian army by means of musical arts, as well as to perform at festive events (both at the local and the state level). However, despite the importance and diversity of creative and educational activities of the Military Orchestra Service of the Armed Forces of Ukraine, no comprehensive study of historical aspects of the functioning of music and military bands in national musicology has been conducted. The purpose of the article is to analyze the historical process of the formation of traditions of professional training of members of military musical bands at the turn of the XIX–XX centuries in the Ukrainian lands, as well as ceremonial and social functions of their concert activity. Research methodology. The overview is based on historical, structural and systemic methods. Results. Traditions of military orchestral training in Ukraine have deep historical roots and are based on multicultural principles. Traditions of performance and training in military musical bands of the Armed Forces of the independent Ukraine were formed on the basis of the three lines of continuation: princely and Cossack music­artistic formations and bands of the time of liberation movements (LUSR — Legion of Ukrainian Sich Riflemen, UIA — Ukrainian Insurgent Army), which represent their direct national line; Russian military orchestras with the participation of Ukrainian specialists; and multinational Austrian and Polish military music bands in Ukrainian territories. All of them together formed the basis on which the Ukrainian military and musical tradition was based, absorbing all the most relevant and productive aspects of the experience gained. Novelty. The activity of centers in which members were trained for existing military orchestral groups in the Ukrainian lands, as well as ways in which such training was performed, and the development of professional training of musicians were considered. Practical significance lies in the consideration of prospects for further detailed study of the functioning of separate bands, their repertoire, instruments, ceremonial and social functions, achievements of particular individuals in the field of performance, pedagogy and conducting. Conclusions. In the activity of military orchestras in the Ukrainian lands at the turn of the XIX–XX centuries we can see a combination of military­ceremonial and social palace­concert functions, wide involvement of all segments of the society in concert touring, which completely dictates the rich repertoire. From LUSR schools and guilds, professional training of musicians was gradually transformed into the activities of specialized training units at the military formations, cadet schools and trumpet schools, institutions at music societies and professional music training in conservatories.
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Bonus, Alexander. "Johann Nepomuk Hummel, Trumpet Concerto in E major, piano reduction and parts, edited by Michael Kube (Munich: G. Henle Verlag, 2009), viii+68pp. - Johann Nepomuk Hummel, Concerto for Trumpet and Orchestra in E major (Partitur Nr. 15119), and Version in E flat Major (Partitur 15118), edited by Michael Kube (Wiesbaden: Breitkopf & Härtel, 2010), iv+48pp." Nineteenth-Century Music Review 9, no. 2 (December 2012): 379–87. http://dx.doi.org/10.1017/s1479409812000407.

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Gąsiorowska, Małgorzata. "Grażyna Bacewicz – The Polish Sappho." Musicology Today 16, no. 1 (December 31, 2019): 65–102. http://dx.doi.org/10.2478/muso-2019-0003.

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Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.
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Martynova, Valeriya. "Concerting oboe: timbre, technique, traditional and latest methods of playing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 149–65. http://dx.doi.org/10.34064/khnum1-50.11.

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Background. Oboe as a concert instrument has passed a rather long path of evolution, on which it has been improved according the parameters of its design, the technique of virtuoso play and the requests of composer writing. The concentrate of universal capabilities of the soloing (concerting) oboe is the concerto genre, in which all these parameters are combined in an integral entire. The objective of this article is to sequentially consider the components of the concerting oboe “image”, such as timbre and articulation-and-stroke technique, including typical and latestmethods of writing and playing. The methodology of researching based on the set of such approaches to the phenomenon under study as historical-and-genetic, deductive, system-and-structural. Results. Based on the consideration of the concerting principle in its historical and stylistic dynamics, the article reveals the specifications of timbre-and-technical means characterized the oboe in various genre forms of the concert. The data on the specifics of the oboe effects found in the concert music for this instrument are also systematized. The latest methods of playing are characterized, and a refined classification of multiphonics used in modern oboe practice is proposed. It is noted that the concept of concerting style first appeared in the Baroque era, when instruments and voices in the new homophonic practice began to reach the level of soloing. At the same time, the principles of concerting manner as a dialogue in various forms of its implementation were formed, among which the form of group or collective concerting represented by the genre of concerto grosso was primary in instrumental music. Within this form, the concerting oboe stands out, and for a long time it participated in a trio of soloists who performed in this genre as concertino opposing to grosso – the mass of the rest of the orchestra. The article identifies the main specific features of the timbre and technique associated with the oboe design (double reed) and the performer’s breathing (gradual exhalation). Particular attention is paid to the oboe effects technique, as well as a set of means for sound-producing and sound-leading characterized this instrument in its comparison with others belonging to the same family (wood winds) or to others (bowed string, brass instruments). On this basis, a description of the performing means of expressiveness of the oboe is proposed, including not only the specific (timbre-and-acoustic), but also the universal components that the oboe takes over from others instruments playing with him in an ensemble or an orchestra. In particular, among such there is the vibrato technique, which came to the oboe practice from the string instruments, as well as the two main groups of effects – connected (legato and its types), divided (staccato, spiccato, martele) and the special methods of playing adapted “for the oboe”, in particular, pizzicato and “slap”. (For an oboe, the “slap” is a sharp tongue strike on the reed with a simultaneous key strike or without it, as well as a key strike without blowing air in). Among the techniques that have the specific forms of reproduction on the oboe, the article discusses tremolo of different interval volumes, to which a special fingering is adjusted; frullato (the “oral” kind with using of the “r” sound like in a trumpet, and “overtone” kind producing by a performer’s throat); glissando, existing on the oboe in two versions, labial and finger. As examples of the latest methods of playing specified to the concerting oboe practice, those are discussed that contribute to the timbre re-coloring of the same sound or the sound set that significantly expands the sound-and-color capabilities of the instrument, and promotes to the process of its further universalization. These, for example, are bisbigliando, the technique that came from the harp practice, when an oboist gets the same sound in different ways; variety kinds of multiphonics; smorzato (a slow fluctuation of sound volume), oscillato (a similar change in pitch). Also the technique of doubletone is mentioned, when the oboist sings along with playing, which allows to produce consonances (intervals and even chords) on the instrument. Conclusions. The results of the research confirm the fact that the solo concerting oboe was formed in the process of a long historical and stylistic evolution, which is reflected in the genre of concerto for oboe, where the timbre-and-technical capabilities of the instrument are most complete. The complex of technique effects as the component of musical expressiveness was especially importance in formation of the cumulative sound image of the “universal” oboe. Thus, the concerting oboe was formed in line with the general processes of the development of musical thinking, which was connected with the practice of concert style, the principle of concerting as a musical and aesthetic category. Reflecting in different genre forms the development of the concert music, collective and solo, the oboe “sound image” has acquired by now the quality of genuine universalism, while retaining its specificity, connected with the features of its performing factor. The prospects for further study of the stated topic are seen, firstly, in the concretization of the stylistics of the concert oboe on examples of works of the concert genre; it will be necessary to build a certain logic of selection of material, which should not only illustrate the historical process, but also contain characteristics of individual creative embodiments of the “image” of the oboe by composers and performers. Secondly, they may be connected with the possibilities of projection in the proposed research methodology onto the concert music for others instruments.
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Thomas, Gavin, Heinrich Schiff, Heinz Holliger, Hakan Hardenberger, SWF SO Baden-Baden, Michael Gielen, Saschko Gawriloff, Siegfried Palm, Alfons, and Aloys Kontarsky. "Cello Concerto, Oboe Concerto, Trumpet Concerto, Canto di speranza." Musical Times 135, no. 1812 (February 1994): 108. http://dx.doi.org/10.2307/1002990.

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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.

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Dissertations / Theses on the topic "Concerto for Trumpet and Orchestra"

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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, orchestral and academic communities by way of providing an historical account of the commission project; showing insight into the composer's inspiration for the work; and providing a reduction of the orchestral score for trumpet and piano.
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Place, Logan. "An analysis and performance guide to William Lovelock's Concerto for trumpet and orchestra." Thesis, connect to online resource. Recital, recorded Apr. 3, 2006, in digital collections. Access restricted to the University of North Texas campus. Recital, recorded Apr. 2, 2007, in digital collections. Access restricted to the University of North Texas campus, 2008. http://digital.library.unt.edu/permalink/meta-dc-9743.

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Reed, Marc Allen. "An historical and stylistic examination of Charles Chaynes' Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3924/.

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Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconceptions when interpreting these pieces. The thirty-nine year gap between Chaynes' Trumpet Concerto No. 1 and Trumpet Concerto No. 2 is a remarkable time span between major compositions, and examining the works gives insight to the evolution of the trumpet concerto throughout the twentieth century. This project highlights Charles Chaynes' contribution to the trumpet repertoire from both the beginning and end of his compositional career, and fills the research gap concerning his concertos. It includes correspondence with Charles Chaynes and others, in order to gain information not found in common source materials. It highlights examples from each concerto that are representative of the composer's compositional style.
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Adamson, Daniel. "A Comparative Analysis of Haydn's Horn Concerto and Trumpet Concerto." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862771/.

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Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently marked by a loosening of compositional constraints, including freer formal procedures, instrumentation, harmonic structures, and an increase in chromaticism (aided by the new chromatic abilities of the trumpet). This document provides an in-depth comparative analysis within an often overlooked genre of music and gives insight into changes in Haydn's compositional style and the concerto genre.
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Treybig, Joel Andrew. "An investigation and analysis of Karel Husa's Concerto for trumpet and wind orchestra /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Phillips, Edward. "Mozartean gesture and rhetoric in Hummel's Concerto for trumpet." Thesis, Recital, recorded June 13, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6062.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).
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Dissenha, Fernando Luis. "Os trompetistas e o repertório da Osesp nas temporadas de concerto de 1977 a 1980." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07072017-142440/.

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Os primeiros anos da Orquestra Sinfônica do Estado de São Paulo (Osesp) foram marcados pela instabilidade administrativa, o que impossibilitava, à época, a existência de uma programação de concertos. Com a chegada de Eleazar de Carvalho, em 1973, a Osesp inicia a estruturação de suas temporadas regulares, e uma das iniciativas foi a implementação de ciclos com obras de um mesmo compositor. Em 1977, foi apresentado o ciclo Beethoven, seguido de outros que deram destaque a Schubert, Tchaikovsky, Brahms, Wagner, culminando, em 1980, com o ciclo de obras de Gustav Mahler. A pesquisa documental nos arquivos da orquestra revelou também que houve mudanças no conteúdo dos programas de concerto, que passaram a exibir informações detalhadas ao público da orquestra. Essa nova proposta de, progressivamente, aumentar os desafios técnicos e artísticos por meio dos repertórios, teve consequências na forma de preparação, escolha de equipamento e atuação dos músicos da Osesp. Esta tese propõe, referenciada pela teoria dos \"mundos da arte\", de Howard Becker, identificar os trompetistas que atuaram na Osesp, quais os processos que utilizaram para executar os repertórios e, por fim, contextualizar a importância das temporadas de 1977 a 1980, na trajetória musical da Osesp.
The early years of the São Paulo State Symphony Orchestra (Osesp) were marked by administrative instability, which made it impossible at the time to have concert seasons. In 1973, when maestro Eleazar de Carvalho came to São Paulo, Osesp starts the structuring of its regular seasons, and one of the initiatives was the implementation of cycles of works by the same composer. In 1977, Beethoven\'s cycle was presented, followed by others that gave prominence to Schubert, Tchaikovsky, Brahms, Wagner, culminating in 1980, with the Gustav Mahler\'s cycle. The documentary research at the orchestra\'s archives also revealed that there were changes in the content of the concert programs, which began to show detailed information to the audience of the orchestra. This new proposal to progressively increase the technical and artistic challenges through repertoires had consequences in the way of preparation, choice of equipment and performance of Osesp\'s musicians. This thesis proposes, using Howard Becker\'s theory of the \"art worlds\", to identify the trumpet players who performed at Osesp, the processes they used to execute the repertoires and, finally, to contextualize the importance of the seasons from 1977 to 1980, to the Osesp\'s musical path.
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Wacker, John Mainard. "An examination of the influence of selected works of Franz Schmidt on the Concerto for trumpet and orchestra and the Sonata for trumpet and piano by Karl Pilss." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9015.

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Winegardner, Brian J. "A Performer's Guide to Concertos for Trumpet and Orchestra by Lowell Liebermann and John Williams." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/520.

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The purpose of this essay is to encourage the study and performance of trumpet concertos written by notable contemporary composers. The essay focuses on two outstanding trumpet concertos composed in recent years: Lowell Liebermann’s Concerto for Trumpet and Orchestra, op. 64 and John Williams’ Concerto for Trumpet and Orchestra. The essay specifically provides the following information: 1) a concise history of the concerto for trumpet, 2) a short biography of Lowell Liebermann and John Williams, 3) the history of Liebermann’s and Williams’ concertos for trumpet, 4) musical analysis of both concertos, 5) a soloist’s practice and performance guide to both works, and 6) a short list of other contemporary trumpet concertos worthy of study. Both Liebermann’s and Williams’ trumpet concertos acknowledge established musical convention, and neither uses any experimental performance techniques. However, both works are written in their own distinctive harmonic language, and each provides its own unique modifications to traditional forms and melodic shapes. Hopefully, this essay will advance the status of Liebermann’s Trumpet Concerto and Williams’ Trumpet Concerto in the history of the trumpet concerto genre and serve as a resource for those who wish to research, study, and perform Liebermann’s Concerto, Williams’ Concerto, or other contemporary trumpet concertos.
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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.
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Books on the topic "Concerto for Trumpet and Orchestra"

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Husa, Karel. Concerto for trumpet and orchestra. New York, NY: Associated Music Publishers, 1993.

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Zwilich, Ellen Taaffe. American concerto: For trumpet and orchestra. Bryn Mawr, Pa: Merion Music, 1996.

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Bazelon, Irwin. Spires--: Concert piece for trumpet and small orchestra. Bryn Mawr, Pa: T. Presser, 1992.

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Prelleur, Peter. Concerto in D major for two trumpets, orchestra and continuo: Two trumpets in C, strings & continuo. Seattle, Wash: Hoyt Editions, 1994.

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Concerto for orchestra. London: Boosey, 1997.

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Bartók, Béla. Concerto for orchestra. London: Boosey & Hawkes, 1993.

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Stucky, Steven. Concerto for orchestra. Bryn Mawr, Pa: Merion Music, 1992.

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Hummel, Johann Nepomuk. Konzert für Trompete und Orchester E-dur. Frankfurt: C.F. Peters, 1994.

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Fowler, Roger. Bartok: Concerto for Orchestra. Leeds: Mayflower Enterprises, 1987.

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Bartók, Concerto for orchestra. Cambridge: Cambridge University Press, 1996.

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Book chapters on the topic "Concerto for Trumpet and Orchestra"

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Coleman, Bill. "The Clarence Paige Orchestra." In Trumpet Story, 32–41. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09981-8_3.

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Coleman, Bill. "The Lloyd Scott Orchestra." In Trumpet Story, 42–47. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09981-8_4.

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Townsend, Peter. "Orchestral Layout and the Best Concert Seats." In The Evolution of Music through Culture and Science, 221–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0014.

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Orchestras have grown larger over the last 200 years, with more volume, and many new instruments. There are time lags produced between playing and arrival at a seat in the audience. This can produce a disconnect between the visual actions and when the note that is heard. Worse is that notes from different parts of the orchestra, or after reflections, will blur and overlap. The pattern of sound emission differs noticeably between instruments (e.g. for a trumpet, or singer, power is sent forward at high frequencies). Power levels along a row of seats can differ by as much as 1000 times (we hear this power difference as just eight times, as our hearing scale is logarithmic). Understanding this allows us to select the ideal seat if we like particular instrumental sounds.
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"Introduction." In Bartók: Concerto for Orchestra, 1–2. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511611667.001.

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"Background." In Bartók: Concerto for Orchestra, 3–15. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511611667.002.

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"Genesis and reception." In Bartók: Concerto for Orchestra, 16–33. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511611667.003.

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"Synopsis I." In Bartók: Concerto for Orchestra, 34–53. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511611667.004.

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"Synopsis II." In Bartók: Concerto for Orchestra, 54–65. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511611667.005.

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"Musical analysis." In Bartók: Concerto for Orchestra, 66–84. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511611667.006.

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"Notes." In Bartók: Concerto for Orchestra, 88–97. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511611667.008.

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Conference papers on the topic "Concerto for Trumpet and Orchestra"

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Andron, Diana-Beatrice. "CONTRASTIVE VIEWS ON THE NEOCLASSICAL TRIPLE CONCERTO FOR SOLOISTS AND ORCHESTRA: BOHUSLAV MARTINU AND PAUL CONSTANTINESCU." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.020.

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