Dissertations / Theses: 'Trumpet and piano music Music'

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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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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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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 Bozza's compositions for solo trumpet by comparing them to conventions employed by jazz composers.

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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 phrasing, and timbral considerations provides additional points of focus to the study. Finally, the importance of Turrin's works for trumpet and his impact on trumpet literature is assessed. Idiomatic aspects of composition that make Turrin's music attractive to performers are investigated and discussed.

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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 two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.

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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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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 information on personal inspiration and imagery, a strong focus on timbre, tips and pointers on putting everything together with piano, thematic elements, and theoretical insights. The detailed analysis included in this dissertation will examine these three works further for their idiomatic use of instrumentation, phrasing, articulation, muting, tempi, and dynamics. Suggestions are given for each of these topics viz. interpretation and performance. With regard to my theoretical approach in this monograph, I will be using a variety of methods developed by important theorists including Hugo Riemann and Paul Hindemith. The work of the latter will be expanded upon substantially because Charles Reskin pays special homage to Hindemith in the third movement of his sonata. In my three analytical studies, I will argue that each composer chooses specific chords for a particular structural or semiotic reason. I will also draw important connections between various types of motivic material and discuss other techniques that each composer uses to provide cohesion among movements.
Temple University--Theses

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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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Ward, Philip Keith. "An examination of Richard Peasleee’s Nightsongs, Eric Ewazen’s Sonata for trumpet and piano, Antonio Carlos Jobim’s Desafinado, Horace Silver’s Peace, and Bronislaw Kaper’s Green dolphin street." Kansas State University, 2008. http://hdl.handle.net/2097/765.

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Master of Music
Department of Music
Gary C. Mortenson
This Master's report contains the biographical, harmonic, and style analysis of the five compositions performed on the author's Master's recital that occurred on October 11th, 2007. The analyses included will provide foundational information for thorough study of Richard Peaslee's Nightsongs, Eric Ewazen's Sonata for Trumpet and Piano, Antonio Carlos Jobim's Desafinado, Horace Silver's Peace, and Bronislaw Kaper's Green Dolphin Street.

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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

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Caldwell, Deborah. "An analytical look at trumpet solo works by Eugène Bozza, Vincent Persichetti, Halsey Stevens, Alexander Arutunian, Eric Ewazen, and Ernest Bloch." Kansas State University, 2015. http://hdl.handle.net/2097/19072.

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Master of Music
Department of Music, Theatre, and Dance
Gary C. Mortenson
This report is an analysis and exploration of the following works: Eugène Bozza’s Caprice, Vincent Persichetti’s The Hollow Men, Halsey Stevens’s Sonata for Trumpet and Piano, Alexander Arutunian’s Concerto for Trumpet, Ernest Bloch’s Proclamation, and Eric Ewazen’s Grand Valley Fanfare. The purpose of this report is to aid performance preparation of these pieces by providing thematic and formal analysis as well as identifying general unifying elements for each piece. Once identified, these patterns will help the performer communicate the broad musical ideas to the audience by finding a balance between the technical aspects and musical statements in each work.

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Belletti, Anthony. "Trumpet Practice| Habits and Goals." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262372.

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While spending many hours of vigorous practice, it is possible for trumpet musicians to develop bad habits which inhibit growth and discourage their inspiration. In a trumpet player’s daily life, their constant goal is to sound better in their practice routines than the day before. However, without setting realistic goals and dream goals, reaching a level of perfection can be daunting and many fundamental problems may occur such as lipping, tension, or insufficient air flow. Applying goals to everyday practice is essential for the fundamental and musical development of an aspiring trumpet player. According to Claude Gordon, practice should always be done with a goal in mind, just like constructing a tall building. First you dig the trenches. Next the forms are built. Then the cement is poured followed by the floors, sides and finally the roof. Too many students try putting the roof on before the foundation is built.

By examining the many fundamental problems trumpet players potentially face every day, I will express how to efficiently tackle these obstacles by describing how to install good practice habits while having a desired goal in mind. Second, I will discuss how humans are creatures of habit and how it effects daily practice. Alva Noe describes habits as environmental, in the sense that they are triggered by outside forces and they vanish in the absence of the appropriate environmental setting. In the case of practicing, a novice trumpet player might only practice in preparation for an event, instead of maintaining their skills every day. The methodology of trumpet pedagogy and educational studies will supply evidence-based theories on practice and observation, which will illustrate how habits and goal setting effects trumpet routines. I will also partake in field work by practicing and analyzing different trumpet method books.

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Bosarge, Jonathan Todd. "AN OVERVIEW OF THE PEDAGOGICAL BENEFITS OF TRUMPET ENSEMBLE PLAYING." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274358906.

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Chandler, Paul. "The township trumpet educator." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53180.

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Thesis (MMus) -- Stellenbosch University, 2002.
ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody.
AFRIKAANSE OPSOMMING: GEEN

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Bloss, Laura. "Natural Trumpet Music and the Modern Performer." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1350316386.

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Youngs, Marisa B. "THE LANGUAGE OF MUSIC: LINGUISTICS IN TRUMPET PEDAGOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/115.

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For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.

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Jensen, Aaron (Trumpeter). "A Pedagogical Approach and Strategies for the Trumpet Ensemble." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707229/.

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The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

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Parker, Dillon D. "Uncovering Three Trumpet Works of Sofia Gubaidulina." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261524.

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Russian composer Sofia Gubaidulina has composed several pieces for brass, but only three that are exclusively for trumpet. They are Song Without Words, Two Ballads for Two Trumpets and Piano, and Trio for Three Trumpets. These works are not commonly played, but are an important part of the trumpet repertoire, as they were written in a time and place in history which is not well-represented in the field of solo trumpet music. This project report includes analysis of Gubaidulina’s three works for trumpet, as well as biographical information on the composer. The three pieces contrast each other and are different from other works by Gubaidulina from the same period. Together, the Song Without Words, Two Ballads for Two Trumpets, and Trio for Three Trumpets use simple musical ideas to represent three different types of communication: a monologue, a narrative, and a discussion.

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SWARTZ, PAULA Hunter. "TIME VERSUS SPACE: A RELATIONSHIP BETWEEN MUSIC AND THE VISUAL ARTS AS REVEALED IN PETR EBEN'S OKNA AND MARC CHAGALL'S JERUSALEM WINDOWS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1113678371.

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Ruggiero, Nicole Marie. "Anxiety and Trumpet Performance: An Exploratory Study." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703410/.

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The purpose of this document is to investigate how trumpet students at the University of North Texas experience music performance anxiety and to find out how professors prepare students for controlling music performance anxiety experiences. The interviewees were ten undergraduates and ten graduate students, as well as three trumpet professors who teach at the University of North Texas. The questionnaire responses of the student interviewees were examined, and literature is provided that address the most common performance related psychological and physiological symptoms experienced by the trumpet students. Effective and healthy strategies are discussed that were offered by the trumpet professors, and suggestions are made regarding potential benefits and detriments of trumpet performance anxiety.

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Joy, Benjamin Michael. ""Lieder eines fahrenden Gesellen: Transcription for Trumpet Ensemble"." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429789082.

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Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.

The exam concert is archived for copyright reasons until 2023.

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Chen, Yu-Ting. "Brahms, the early choral music heritage and his piano music /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11206.

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Winland, Isaac. "A Survey of Chamber Works for Trumpet and Electronics." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525253603796527.

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Hernandez, Alberto Hector. "Puerto Rican piano music of the nineteenth century /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936671.

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Richardson, William Stone. "Wind ensemble music for the trumpet : an excerpt guide /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992739.

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Thesis (D.M.A.)--University of Texas at Austin, 2000.
Vita. Includes bibliographical references (leaves 94-98). Discography leaves 92-93. Available also in a digital version from Dissertation Abstracts.

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Sajo, Benjamin. "Abandonment for trumpet and orchestra." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114536.

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Abandonment is a 15 minute musical composition for solo trumpet and orchestra programmatically depictive of a protagonist's metaphysical journey through the continent of Abandonment—an archipelago located on Canadian illustrator James Turner's Map of Humanity. The music brings forth the ideas and symbolic associations of abandonment, expressed as a spiritual, transformational heroic journey. The Hero—the solo trumpet anthropomorphized—experiences the archetypal monomythic quest of separation, struggle, and return from and towards the Lost Object—a process analogous to the psychological model of the five stages of grief: denial, anger, bargaining, depression, and acceptance. These stages give their names to the five movements of Abandonment. Drawing further inspiration from mythological, anthropological, and psychological sources, Abandonment's musical discourse—the transformations and permutations of an initial twelve-tone row source—depicts a neo-mythical, deeply symbolic musical narrative of loss and reclamation.
Abandonment est une composition musique du quinze minutes pour trompette soloe et orchestre qui dépeint, selon une programme, un voyage métaphysique à travers le continent d'Abandon—un archipel situé sur la Map of Humanity (Carte de l'Humanité) par l'illustrateur canadien James Turner. La musique évoque et interprète les idées et les associations symbolique de l'abandon, exprimée comme un voyage héroïque de transformation spirituel. Le héros—la trompette soloe anthropomorphizée—éprouve la quête héroïque archétypal de la séparation, de la lutte, et du retour, de et vers l'Objet Perdu-- un processus analogue au modèle psychologique des cinq étapes de la peine: démenti, colère, négociation, dépression, et acceptation. Ces étapes donnent leurs noms aux cinq mouvements de l'Abandonment. Encore inspiré par des sources mythologiques, anthropologiques, et psychologiques, le discours musical de l'Abandonment—les transformations et les permutations d'une première ligne dodécaphonique source-dépeint-- dépeint un récit musical de la perte et une récupération néo--mythiques et profondément symboliques.

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Johnson, Carly Jo Lynn. "An annotated collection of twentieth century wind band excerpts for trumpet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117571186.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 137 p.; also includes musical examples. Includes bibliographical references (p. 133-137). Available online via OhioLINK's ETD Center

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Winterbach, Veranza. "Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.

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Includes bibliographical references.
Gabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.

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Hanson, Frank E. III. "Trumpet Timbre: A Comparative Investigation of the Tone Quality of Two Professional C Trumpets." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391686077.

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Colton, Glenn David. "The piano music of Jean Coulthard." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32739.pdf.

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Metaxaki, Maria. "Considerations for pedalling Debussy's piano music." Thesis, City University London, 2005. http://openaccess.city.ac.uk/8449/.

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The importance of the pedals in Debussy's piano music has been emphasised in a wide range of literature concerning Debussy and French piano music in general. However, and despite the obvious absence of pedalling indications in Debussy's piano scores, no dedicated study has been made in identifying a possible meaning behind their absence. This study will attempt in developing suggestions for pedalling Debussy's piano music based on written as well as sound sources directly associated with the composer. This attempt is developed in two stages: firstly, by providing evidence that Debussy was always seeking to extract a continuous sonority from the piano, feasible only through the application of the pedal and secondly, by making cross reference of this evidence and Debussy's own use of the pedals in his piano roll recordings. Ultimately, it is revealed that Debussy was making extensive use of both the unacorda as well as of the damper pedal. Any obvious conclusions in this study are not meant to be used as a guide for pedalling but as a source of reference that may assist the informed performer in his/her continuous search into Debussy's musical world.

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Luo, Hung. "Selected late-Romantic Russian piano music." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/9737.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Also available in paper. Audio available on compact disc;

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Bang, Keum Ju. "The study of representative twentieth century piano compositions appropriate for use in contemporary college piano literature classes /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778391.

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Lindberg, Olov. "Trumpet är coolt! Eller? : En kvantitativ studie i barns och ungdomars syn på frivillig musikundervisning i trumpet i musik- och kulturskolor." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55413.

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Syftet med denna studie är att beskriva relevansen av och eventuella samband mellan utvalda faktorers inverkan på trumpetelevers val av instrument och på deras fortsatta spelande i musik- och kulturskolor. Detta görs genom att beskriva både vad som påverkat eleverna i deras instrumentval och vad som varit viktigt för deras fortsatta spelande och intresse. Därefter undersöks om det finns några samband mellan dessa viktiga faktorer. Studien undersöker också föräldrars upplevda stöttning och om den har något samband med elevernas övningsfrekvens. Studien försöker dessutom också belysa hur elevernas intresse för sitt instrument ser ut genom att undersöka vissa faktorers relevans i relation till intresset, men också i jämförelse med andra instrument som brukar erbjudas på musik- och kulturskolor. Detta görs genom att både undersöka var intresset kommer ifrån samt hur de upplever att intressegraden ser ut idag jämfört med när de började spela. Tidigare forskning i området har ofta varit inriktad på lärarens perspektiv eller en allmän syn på undervisning. Avsikten med denna studie är dock att undersökningen görs ur elevernas synvinkel. Studien genomfördes utifrån ett positivistiskt kvantitativt förhållningssätt och urvalet består av trumpetelever samt deras föräldrar. Resultatet visar att både trumpetens egenskaper som ljud och klang samt läraren är viktiga faktorer för att elever ska börja spela. Musik- och kulturskolors instrumentprovardagar är också en bidragande faktor. Resultatet visar även att det inte finns några idoler som skapat intresset hos någon av eleverna, utan intresset har snarare kommit från lärare, familj och kompisar. Att ha provat spela trumpet tidigare är också en viktig faktor. En reflektion är att studien kan antyda på att föräldrar kanske underskattar sin egen inverkan på eleverna, både i valet av instrument, men även för det fortsatta intresset.
The purpose of this study is to describe the relevance of the influence and possible correlations of selected factors on trumpet students choice of instrument and their continuous playing at community music schools. This is done by describing both what influenced the students in their choice of instruments, and what was important for their continued interest. Thereafter, any possible correlations between these important factors are examined. The study also examines parents estimated support and whether it has any connection with the students' practice rates. The study also examines students interest in instruments at community music schools by examining the relevance of the impact of certain factors on the interest, but also in comparison with other musical instruments. This is pursued by both uncovering where the interest came from and how they perceive their own interest at present compared to when they started playing. Previous research in this field has often been focused on the teacher's perspective or on a general view of teaching. In contrast, this study should be able to show trumpet students point of view. The study was conducted on the basis of a positivist quantitative approach and the selection consists of trumpet students and their parents. Results show that both the characteristics of the trumpet, for example the sound colour, as well as the teacher, are important factors for students to start playing this instrument. Testing days on music schools are also a contributing factor. Results also provides fact to that there are no idols that created the interest of any of the students, instead the interest has mostly come from teachers, family and friends. Having tried to play the trumpet in the past is also an important factor. A reflection that this study may suggest is that parents may underestimate their own influence on students, both in the choice of instruments, but also for the continued interest.

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De, Val Dorothy Jean. "Gradus ad Parnassum the pianoforte in London, 1770-1820 /." Online version, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.308701.

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Eun-Kalil, Jisun. "Extended program notes for thesis piano recital." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/3156.

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This thesis presents extended program notes for a sixty-minute piano graduate recital consisting of the following repertoire for solo piano: Georg Philipp Telemann's Fantasia No. 9 in B Minor and No. 10 in D Major; Carl Philipp Emanuel Bach's Fantasia II in C Major, H. 284 (Wotq. 59/6); Joseph Haydn's Andante con Variazioni in F Minor, Hob. XVII: 6; Ludwig van Beethoven's Sonata in F- sharp Major Op. 78; Clara Wieck Schumann's Notturno Op.6, No. 2 and Le Ballet des Revenants Op. 5, No. 4; Fanny Hensel Mendelssohn's Das Jahr: Juni and November. The content of this thesis features detailed information on these works through historical study, musical analysis, and research in performance practice.

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KOSTRABA, GREGORY CHRISTIAN. "THE FIRST PIANO TRIO BY ROBERT MUCZYNSKI." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1048094945.

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Wu, Shih-Ying. "A graduate piano recital." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1752.

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PROGRAM The Well-Tempered Clavier, Book I..............Johann Sebastian Bach (1685-1750) Prelude and Fugue XXI in B flat major Prelude and Fugue XXII in b flat minor Sonata N. 11 in A major, K.331.......Wolfgang Amadeus Mozart (1756 - 1791) Theme and Variations Menuetto Allegretto Intermission Images Series II................................Claude-Achille Debussy (1862-1918) Poission d' or (Goldfish) Rhapsodies Op. 79 .................................Johannes Brahms (1833-1897) No. 1 in b minor No. 2 in g minor Etude in A flat Major, Op. 1, No. 2.....................Paul de Schlozer (1841-1898)

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Catalan, Ramon E. "A graduate piano recital." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2084.

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The extended program notes include historical background on the composers and pieces being performed, as well as the analytical form regarding the works: Variations on "Ah vous dirai-je-maman," K. 265 by Wolfgang Amadeus Mozart; Sonata in C minor, op. 13 "Pathétique," by Ludwig van Beethoven; Consolation No. 3 and Funerailles by Franz Liszt; Fantasie in F minor, op. 49 by Frédéric Chopin.

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Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0052.

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Ceballos, Sara Gross. "Keyboard portraits performing character in the eighteenth century /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619148891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Kolesnikov, Inna. "Master's piano recital." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/477.

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Norris, Kyle M. "Twenty-First Century Trumpet Music of James M. Stephenson III." Diss., North Dakota State University, 2012. https://hdl.handle.net/10365/26763.

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This study examines in detail works for trumpet by James M. Stephenson III, which include unaccompanied works, short character pieces, multi-movement works, compositions for chamber ensembles, and etudes. As a modern composer, Stephenson is important for both the quantity and quality of his works. His style is characterized by beautiful lyrical lines, skillfully crafted technical passages, extreme shifts in register, and detailed attention to dynamics, articulation and phrasing. Biographical information covering Stephenson's youth, education and career will be presented together with an examination of his compositional characteristics and influences. A selected group of works will be viewed in detail, including Call (for unaccompanied trumpet), Fanfare for an Angel (four part trumpet ensemble), Mutation for trumpet and piano, Sonata for Trumpet and Piano, Vignettes (for trumpet and percussion) and his two volumes of Day-Tudes for trumpet. These works were selected to showcase his compositional skill and versatility as well as present examples of works of substantial pedagogical value. A complete list of his compositions and a discography of all known recordings of his music will be provided in two appendices.

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Tallman, Thomas Jon. "Jazz trumpet : a survey of the first fifty years /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Thesis (D.M.A.)--University of Texas at Austin, 1998.
Vita. Discography: 139-141. Includes bibliographical references (leaves 142-144). Available also in a digital version from Dissertation Abstracts.

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"Rapsodia Camaleónica: A Concerto for Piano, Trumpet and Orchestra." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14797.

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abstract: This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.
Dissertation/Thesis
D.M.A. Music 2012

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Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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Dissertations / Theses on the topic 'Trumpet and piano music Music'

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