Relevant bibliographies by topics / Concerto for trumpet concerto for piano

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  2. Dissertations / Theses
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Academic literature on the topic 'Concerto for trumpet concerto for piano'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Concerto for trumpet concerto for piano"

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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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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 (February 21, 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 improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.
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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 (October 9, 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. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.
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Hewett, Ivan, Ligeti, Ensemble Modern, Peter Eotvos Miklos Perenyi, and Ueli Wiget. "Cello Concerto; Chamber Concerto; Piano Concerto." Musical Times 135, no. 1818 (August 1994): 515. http://dx.doi.org/10.2307/1003340.

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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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Terras, V., and Ojārs Vācietis. "Piano Concerto." World Literature Today 59, no. 3 (1985): 467. http://dx.doi.org/10.2307/40141038.

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Weirich, Robert, John Harbison, David Stock, Robert Moevs, and Jacob Druckman. "Piano Concerto." American Music 3, no. 3 (1985): 361. http://dx.doi.org/10.2307/3051483.

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Drakeford, Richard, Hugh Wood, Joanna MacGregor, BBC SO, and Andrew Davis. "Piano Concerto." Musical Times 134, no. 1805 (July 1993): 412. http://dx.doi.org/10.2307/1003113.

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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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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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Dissertations / Theses on the topic "Concerto for trumpet concerto for piano"

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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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Bishop, James Martin. "A Performance Guide to Arvo Pärt's Concerto Piccolo Über B-A-C-H for Trumpet, Strings, Harpsichord, and Piano." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283781/.

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Arvo Pärt's Concerto Piccolo über B-A-C-H for trumpet, strings, harpsichord, and piano is a brief yet challenging work in the trumpet repertoire. A carefully articulated performance guide is necessary to aid trumpeters in overcoming the numerous musical challenges presented in this piece. Currently, there is no resource that helps in solving performance choices and difficulties in this work. This first section of this document provides historical and contextual information on Arvo Pärt, his compositional output during his experimental period, and subsequently, Concerto Piccolo. The second section includes a performance analysis of the work, while the third gives trumpet players pedagogical suggestions and practical exercises for proper preparation of Concerto Piccolo. This guide presents performers with relevant background, analytical, and pedagogical information required for an informed and high-level performance.
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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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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's Salm o Dewi Sant, and Erik Morales's Concerto for Trumpet in C and Piano." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1416.

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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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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 concerning the evolution of nineteenth solo literature for the Romantic trumpet by means of formal analysis in regard to form, harmony, and historical performance practice.
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Howard, Christopher Eugene. "Piano concerto." Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.

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Wong, Kei Hong. "Piano Concerto." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18334.

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This thirteen-minute concerto explores the concept of the "third-stream" style, a genre prevalent from the early twentieth century onward that explores the fusion of classical and the popular idioms. The piano writing, especially in the cadenza, is greatly influenced by George Gershwin's Piano Concerto in F, one of the most representative works in this style due to its jazzy syncopated rhythms and romantic pianistic writing. In addition to the traditional orchestral instrumentation, this piece includes several drum set solos, recalling some of the percussive passages from Leonard Bernstein's West Side Story, a musical theater work evoking jazz and Latin styles. This piece also draws influence from the contemporary group Bad Plus Trio, embracing the avant-garde jazz style apparent in 1972 Bronze Medalist from the album "These Are the Vistas."
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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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Evans, Donald Earl. "Concerto for Trumpet and Chamber Ensemble." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc1038898/.

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Concerto for Trumpet and Chamber Ensemble is a three-movement work for solo trumpet and ten instruments, one player to a part, of approximately fourteen minutes in length. It is scored for flute, oboe, clarinet in B-flat, bassoon, piano, percussion, trumpet (solo) in C, violin, viola, cello, and double bass. The principal percussion instrument is xylophone with lesser parts for suspended cymbal and triangle.
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Books on the topic "Concerto for trumpet concerto for piano"

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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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Rorem, Ned. Piano concerto no. 2: Cello concerto. [Hong Kong]: Naxos, 2007.

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Tower, Joan. Piano concerto, 1985. New York: Associated Music Publishers, 1989.

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Delerue, Georges. Le concerto de l'adieu =: ("Farewell concerto"). Los Angeles, CA: Gedel Music, 1993.

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Aguila, Miguel del. Clarinet concerto. New York: Southern Music Pub. Co., 1992.

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Torke, Michael. Saxophone concerto. [New York]: Adjustable Music, 1996.

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Hoover, Katherine. Clarinet concerto. Bryn Mawr, Pa: T. Presser, 1989.

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Druckman, Jacob. Viola concerto. [New York?]: Boosey & Hawkes, 1992.

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Bartók, Béla. Viola concerto. London: Boosey & Hawkes, 1995.

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Book chapters on the topic "Concerto for trumpet concerto for piano"

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Oldfield, Anna. "Concerto for Solo Piano." In Routledge Handbook of Asian Diaspora and Development, 334–45. 8th ed. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429352768-30.

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Stewart-MacDonald, Rohan H. "Locating the early-romantic British piano concerto." In Muzio Clementi and British Musical Culture, 200–219. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Ashgate historical keyboard series: Routledge, 2018. http://dx.doi.org/10.4324/9781315206936-12.

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Miucci, Leonardo. "Completing the Score. Beethoven and the Viennese Piano Concerto Tradition." In Das flüchtige Werk. Pianistische Improvisation der Beethovenzeit, 98–115. Schliengen: Edition Argus, 2019. http://dx.doi.org/10.26045/kp64-6176-006.

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Stewart-MacDonald, Rohan. "The early-romantic piano concerto and the lost cultural heritage of improvisation." In Music as Heritage, 168–89. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: SOAS musicology series: Routledge, 2018. http://dx.doi.org/10.4324/9781315393865-9.

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Peres Da Costa, Neal. "Carl Reinecke’s Performance of his Arrangement of the Second Movement from Mozart’s Piano Concerto K. 488. Some Thoughts on Style and the Hidden Messages in Musical Notation." In Musikforschung der Hochschule der Künste Bern, 114–49. Schliengen: Edition Argus, 2019. http://dx.doi.org/10.26045/kp64-6178-007.

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Manning, David. "Piano Concerto." In Vaughan Williams on Music, 351–54. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0084.

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BACH. "Italian Concerto, BWV 971." In The Piano, 17–20. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.6.

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"Chopin's third concerto." In Chopin: The Piano Concertos, 88–100. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511611636.006.

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"Piano Concerto in G major." In The Piano, 234–38. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.73.

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"Piano Concerto in A major, K488." In The Piano, 51–55. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.17.

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Conference papers on the topic "Concerto for trumpet concerto for piano"

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Hu, Jinghua. "Study on Historical Value Communicated by Yellow River Piano Concerto." In International Conference on Education, Management and Computing Technology (ICEMCT-15). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemct-15.2015.182.

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Lu, Liu. "Playing Style of Mozart’s Piano Concerto No. 20 in D Minor." In International Conference on Information System and Management Engineering. SCITEPRESS - Science and Technology Publications, 2015. http://dx.doi.org/10.5220/0006023002330235.

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Kudoyarov, Rustem. "Benjamin Britten's Piano Concerto in the Context of the Composer's Creative Connections with Russian (Soviet) Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.169.

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Valeriya, Zharkova. "Piano Concerto in G major by Maurice Ravel: Games and Revelations of the Artist of the Twentieth Century." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.052.

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