Relevant bibliographies by topics / Trumpet concerto

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

Academic literature on the topic 'Trumpet concerto'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Trumpet concerto"

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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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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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Horez, Iulian. "16. Sinfonia Avanti Il Barcheggio by Alessandro Stradella in Interpretations of the Trumpeters Iulian Horez and Miroslav Kejmar." Review of Artistic Education 21, no. 1 (June 1, 2021): 133–38. http://dx.doi.org/10.2478/rae-2021-0016.

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Abstract Alessandro Stradella is a lesser-known composer in trumpet works. However, the Sinfonia avanti il Barcheggio is of great beauty and is written perfectly trumpet. The original is composed for trumpet in C, but the key of D major in which the concerto played with trumpet in C is written poses the biggest tuning problems. For this reason, I recommend for this concert a trumpet in A. The tuning will be much better, it will be played in F major, the natural notes of the trumpet will be used a lot (C, E, G).
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Mottershead, Tim. "Manchester, Bridgewater Hall: Concertos by Hakola and Broström." Tempo 67, no. 265 (July 2013): 75–77. http://dx.doi.org/10.1017/s0040298213000508.

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Given that the BBC Philharmonic had taken the courageous step to perform not one but two substantial premières on 1 February, one might have expected enticing potboilers to make up the rest of the menu. However, the remainder of the programme was devoted to Stravinsky's Petrushka (admittedly his most colourful ballet) along with his austere Symphonies of Wind Instruments. The concert was given a novel twist in that the first half (Symphonies of Wind Instruments and Hakola Violin Concerto) was directed by visiting guest conductor Håkan Hardenberger with John Storgårds as soloist; whilst in the second half (Broström Trumpet Concerto and Petrushka) Storgårds donned his more familiar guise as Principal Guest Conductor, with Hardenberger in his better-known role as trumpet soloist.
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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. "Civic Hall, Stratford-Upon-Avon: John McCabe's Trumpet Concerto ‘La Primavera’." Tempo 67, no. 263 (January 2013): 89–91. http://dx.doi.org/10.1017/s0040298212001489.

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Although John McCabe's Rainforest II, of 1987, is in effect a chamber concerto for trumpet and 11 strings, his extensive body of concertante works has lacked an official trumpet concerto. La Primavera, which had its première on 15 June 2012, now happily fills that gap. The subtitle derives from McCabe's consideration of two aspects of the approach of Spring: the vitality of burgeoning growth and the flowering of the new or refreshed life as it expands.
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Carnovale, Norbert, and Ellen Taaffe Zwilich. "Concerto for Trumpet and Five Players, 1984." Notes 44, no. 4 (June 1988): 832. http://dx.doi.org/10.2307/941062.

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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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Dissertations / Theses on the topic "Trumpet concerto"

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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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Lockard, Douglas Todd. "A stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023556.

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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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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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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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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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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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Orsen, Jason A. "The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937563.

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Lind, James Meyer. "Lind, James Meyer the Trumpet Concertos of Anthony Plog: a Performer’s Guide." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149631/.

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Anthony Plog (b. 1947) has contributed several notable works for brass instruments. He is known for writing extremely technically challenging works that contain angular melodies, fast rhythms and a large degree of chromaticism. Though his music is difficult, it also conveys intense emotions. His music for trumpet, specifically Concerto no. 1 for Trumpet, Brass Ensemble and Percussion and Concerto no. 2 for Trumpet and Orchestra, represents a zenith in his compositional development. This dissertation examines Concerto no. 1 and Concerto no. 2 from a performer’s perspective to better understand the stylistic characteristics and challenges encountered in his music. Each concerto is examined in terms of rhythmic structure, intervallic structure, thematic material, motivic material and form.
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Samayoa, Raquel Rodriquez. "An analysis of the American Concerto by Ellen Taaffe Zwilich, identifying the use of motives, and a guide for performance preparation." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9043/.

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Ellen Taaffe Zwilich is an important figure in the compositional world, having written a diverse body of works for which she has received many accolades, including the coveted Pulitzer Prize. The second chapter examines this American composer, the commission of the American Concerto, and events leading to the piano reduction of the concerto. The America Concerto is a modern work that incorporates synthetic scales, unusual notation, and the organization of melodic material through motives. The third chapter includes an analysis that identifies the form and tonal centers as well as the primary motives used in the concerto. The fourth chapter includes pedagogy considerations for performance. Issues relating to tessitura, articulation, flexibility, endurance factors, fingerings, and technical features of the piano reduction accompaniment are evaluated. Detailed suggestions are provided to aid in preparing the piece for performance, including a study of stylistic concerns. The American Concerto is quite diverse stylistically as Zwilich explores the symphonic and jazz genres. The dual nature of the trumpet is examined as the piece combines classical and jazz styles in a virtuosic setting.
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Books on the topic "Trumpet concerto"

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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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Willener, Alfred. Pour une sociologie de l'interprétation musicale: Le cas du "Concerto pour trompette" de Haydn. Lausanne: Editions Payot Lausanne, 1990.

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Junker, Hildegard. Joseph Haydn, Trompetenkonzert in Es-Dur. Altenmedingen: H. Junker, 2001.

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

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

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

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Turok, Paul. Concert variations: Opus 51, no. 3 for trumpet and marimba. [Cambridge, Mass.]: Nichols Music, 1987.

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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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Jack's worry. Somerville, Massachusetts: Candlewick Press, 2016.

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Book chapters on the topic "Trumpet concerto"

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Miadzvetskaya, Yuliya. "Between Strategic Autonomy and International Norm-setting." In Global Studies, 261–86. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457474-011.

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According to the 2016 EU Global Strategy (EUGS), today's world is characterized by an increased strategic competition and rising threats to multilateralism and a rules-based order. In this fast-evolving environment, the EU has shifted from its traditional “values-based” approach in foreign policy to a “principled pragmatism”. This holds that the EU should solidify relations with countries with shared values, while also engaging strategically with rivals. The EU's goal is to protect its strategic interests in the world marked by the US-China rivalry, a confrontational relationship with the Trump administration, and Russia's growing ambitions in their shared neighborhood. The present chapter examines some aspects of the EU's efforts to secure its autonomy in an emergent terrain for international competition: cyberspace. The analysis will begin with an explanation of the broader context for the EU's approach to cybersecurity, which should be understood as part of the Union's longstanding pursuit of “strategic autonomy” in an increasingly competitive geopolitical environment. It then offers a description of deterrence theory and its application to cyberspace, before turning to the development of the EU Cyber Diplomacy toolbox and targeted restrictive measures in response to cyberattacks. It will then seek to assess the deterrence potential of restrictive measures on the basis of some generic attributes of the concept of deterrence identified in rich theoretic contributions on deterrence theory and cyberspace. It concludes that while sanctions might appear to be ineffective and non-aligned with the operational characteristics of the cyber domain, their potential for establishing good practices should not be discarded. They should instead be used as a vehicle for promoting and informing the international discourse on the norms of responsible state behavior in cyberspace.
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Campos, Frank Gabriel. "Jazz Trumpet." In Teaching School Jazz, 163–72. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0015.

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Ensembles of all kinds call upon the trumpets for excitement and fireworks. The strength and quality of the trumpet section is a top concern for any jazz, show, salsa, and commercial music ensemble. A gifted lead or solo trumpeter is a jewel of any group, and a strong trumpet section can elevate a band to greatness. The first part of this chapter provides an overview of the physical and musical challenges that jazz trumpeters face, and offers solutions to some of the most common problems, including exercises that improve range, endurance, and sound. The second part of the chapter discusses time feel, the jazz trumpet sound, and jazz articulation and phrasing. The final portion of the chapter covers the lead player, the jazz player, playing in a trumpet section, equipment choices, using mutes, and the flugelhorn.
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McAdams, Dan P. "Me." In The Strange Case of Donald J. Trump, 147–73. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507445.003.0008.

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The chapter, “Me,” examines in detail Donald Trump’s love of himself—that is, his narcissism. Tracing the concept back to the ancient Greek myth of Narcissus, the chapter explores different theories of and empirical research on narcissism, and considers how they may apply to Trump. The chapter dismisses common clinical speculations regarding the origins of Trump’s narcissism in the alleged early failings of the mother–infant bond. The chapter traces Trump’s long career in narcissism, from school experiences through the presidency. Trump never tires of glorifying the self. As the episodic man, each new moment is a completely refreshed opportunity to gaze anew at the beautiful and powerful me. If too many moments go by without the fix, Trump feels an aching longing for me, a desire to gaze upon the me, like Narcissus gazing into his reflection in the pool, as if he were addicted to the me—the me as an object, not a person, but a beautiful and mesmerizing thing.
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Jamieson, Kathleen Hall. "The Second Troll Prerequisite." In Cyberwar, 70–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190058838.003.0005.

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Chapter 4 examines the second prerequisite required for hacked and generated content to influence the U.S. election: was it aligned with Trump’s messages and electoral interests? Jamieson argues that the content generated by Russian trolls centered on concerns on Trump’s agenda, such as fear of downward mobility and cultural dislocation. The trolls’ efforts to sow discord by exacerbating cross-group conflict and fueling dissatisfaction with the status quo also advantaged the Trump campaign. Russian-hacked emails and troll content reinforced Trump’s attacks against Hillary Clinton, underscoring both the notion that she was corrupt and dishonest and that her stance on key issues threatened the interests of working-class and culturally anxious Americans.
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Zick, Timothy. "The Public Forum." In The First Amendment in the Trump Era, 69–90. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190073992.003.0004.

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This chapter examines concerns relating to preserving access to public properties for the purpose of facilitating freedom of expression. Historically, speakers and groups have fought to obtain and preserve First Amendment rights to access and use what are referred to as “public forums”—places that the government owns or controls, but that are held in trust for the people for the purpose of exercising First Amendment rights. The “law and order” mantra of the Trump Era has revived concerns, dating in particular from the 1960s and 1970s, about preserving speakers’ access to public places including streets and parks. Government “law and order” policies and actions, along with various other access limits, raise concerns about the continued viability of the public forum. In addition, during the Trump Era, issues have arisen with regard to speakers’ access to places in the “modern public square,” including official social media sites. President Trump’s decision to block several critics from the comment portion of his Twitter page is only the most prominent example of this new access concern, which will affect dissenters’ ability to communicate with an increasing number of public officials. Preserving access to traditional and digital forums will be critical to maintaining a culture of dissent.
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Cook, Joana. "Enter Trump." In A Woman's Place, 359–422. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197506554.003.0007.

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In this final chapter, the counterterrorism approach taken thus far by the Trump administration will first be examined through an analysis of the key strategies and statements articulated by him, his administration, and how this has unfolded thus far in practice on the ground. The second section will provide an update on the situations in Afghanistan, Iraq, Syria and Yemen since the beginning of 2017, outlining key areas of concern going forward and drawing off insights gleaned from the Bush and Obama administrations to assess the significance of these for women today. This chapter will inherently consider what these changes mean for how women are assessed as agents, partners and targets of full-spectrum counterterrorism going forward. As will be demonstrated, there are a number of growing concerns related to how women are considered and engaged in this space, yet their active participation and consideration are now perhaps more vital than ever.
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Hibbing, John R. "Authoritarians Who Dislike Authority?" In The Securitarian Personality, 46–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190096489.003.0003.

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This chapter reviews and critiques one of the most frequently invoked descriptions of intense Trump supporters—that they have authoritarian personalities. This phrase is taken from the title of a landmark book published in 1950 by Theodor Adorno and colleagues, a work that is described in some detail in this chapter. Subsequent efforts to measure similar concepts have focused on right-wing authoritarianism and preferences for child-rearing. These scholarly efforts attempt to explain anti-Semitism, ethnocentrism, and prejudice based on authoritarian attitudes that include submissiveness, conventionalism, and aggression. The argument made in this chapter is that the application of these concepts to Trump’s base does not capture the real difference between those who are and those who are not avid Trump supporters because the actual central distinction has more to do with attitudes toward security than authority and because they mix personality traits with worldview.
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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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Walpole, Horace. "Chapter III." In The Castle of Otranto. Oxford University Press, 2014. http://dx.doi.org/10.1093/owc/9780198704447.003.0005.

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Manfred’s heart misgave him when he beheld the plumage on the miraculous casque shaken in concert with the sounding of the brazen trumpet. Father! said he to Jerome, whom he now ceased to treat as count of Falconara, what mean these portents? If I...
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McAdams, Dan P. "Us." In The Strange Case of Donald J. Trump, 185–209. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507445.003.0010.

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The chapter us considers the many implications and ramifications of authoritarianism in the presidency of Donald J. Trump. The authoritarian leader pits the good us against the bad “them,” and he promulgates a doctrine that aims to defend against the them while purging all dissent within the “us.” The chapter discusses the origins of the concept of the authoritarian personality, and it examines instances of authoritarian leadership in “illiberal” democracies today, as in Poland and Hungary. Coming back to the United States, the chapter examines Trump’s authoritarian dynamic from many different perspectives, including race relations and the emergence of the alt-right in American society, the changing demographics of the United States, Trump’s appeal to evangelical white Christians, and the president’s assault on Congress, the courts, the institutions of American law enforcement, the government bureaucracy, and the press.
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Conference papers on the topic "Trumpet concerto"

1

Li, Yousun. "The Concept of Virtual Penetration and Its Application in Risers With Multiple Contacts." In ASME 2002 21st International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/omae2002-28219.

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Marine risers may involve multiple contacts, such as a marine riser consisting of centralized multi-tubes, and a riser with a trumpet bending restrainers. An algorithm has been developed specially for the time-domain simulation of the riser motions with a large number of intermittent contacts. In this algorithm, the contact constrains are lifted, and a pair of contact forces for each contact is added to the applied loads in the global equilibrium equations. Each pair of contact loads are either large enough to keep the wall penetration within a specified tolerance, or vanish when the contact pair is separated. These contact loads can be obtained by iterations, based on a concept called “viavirtual penetrationl”. Through a dual casing riser as an example, the time records of the riser motions are simulated by the algorithm of virtual penetration and by modeling contacts as nonlinear springs. These two results are in good agreement. However, the algorithm developed herein can handle much more intermittent contacts than other methods.
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2

Ross, Jason, Tom Campbell, Basant Parida, Mark Arnoldy, and Tarek Omar. "Development of Candidate New Emergency Warning Signals (EWS) to Improve Railroad Safety." In 2017 Joint Rail Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/jrc2017-2281.

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From the original “steam trumpet” built for locomotives in 1832 by the Leicester and Swannington Railway to modern air-pressure horns, train warning signals have not changed significantly in nearly 200 years. The effectiveness of train warning signals has been of particular concern for trespassers listening to music with headphones. The authors have conducted research as part of a Federal Railroad Administration program to design and assess the effectiveness of candidate new emergency warning signal (EWS) sounds. This paper summarizes a literature review to understand the needs for a new EWS sound and principles of audible signal detection. Acoustic measurements were conducted of headphones to understand in-ear music levels and active and passive sound attenuation. Candidate EWS sounds were developed with a goal of maintaining the identification of a train approaching and increasing the sense of urgency and response time for trespassers to vacate the tracks. Testing of candidate EWS sounds was conducted in an audio booth and on-board a moving locomotive. The research results have shown that a new EWS sound can maintain the association of a train approaching, increase the sense of urgency, reduce the reaction time for trespassers to vacate the tracks and improve safety on railroad corridors.
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3

Gerasimenko, I. V., and A. S. Rydchenko. "Reflection of culture in American political discourse." In XXV REGIONAL SCIENTIFIC CONFERENCE STUDENTS, APPLICANTS AND YOUNG RESEARCHERS. Знание-М, 2020. http://dx.doi.org/10.38006/907345-63-8.2020.128.134.

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The article examines certain phenomena, concepts, objects that are inherent in the cultures of different peoples, they are associated with clear historical, geographical, socio-political and other conditions of their existence. The authors analyzed the pre-election, inaugural and post-election types of political speeches of Donald Trump and Barack Obama and described the features of the manifestation of cultural values in the speeches of these politicians. An analysis of the material shows that the speeches of political figures directly reflect the cultural values of the people.
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4

Wang, Dingxi, Francesco Ornano, Yan Sheng Li, Roger Wells, Christer Hjalmarsson, Lars Hedlund, and Thomas Povey. "FLOvane: A New Approach for HP Vane Design." In ASME Turbo Expo 2016: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/gt2016-57285.

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The University of Oxford has been working for a number of years on a conceptually new philosophy for HP vane design [1]. The desired function of the HP vane is to accept flow from a — generally — annular intake, and turn and accelerate it with minimum loss and heat transfer, and with due consideration to mechanical, manufacturing and integration issues. The conventional design process is well-defined: annulus line definition; through-flow analysis; 2D airfoil section definition; vane stack definition; lean/sweep treatments; secondary flow contouring and fillet design; vane and platform cooling system design; integrated aero/thermal/capacity optimization. The process is based on optimizing 2D airfoil stacks to control secondary flows. More recent research (last 20 years) has led to better understanding of airfoil lean, airfoil sweep, leading edge treatments and end-wall profiling. There may be some iterative optimization in which the airfoil sections themselves are modified, but these treatments (as implied by the terminology) are essentially modifications to a 2D airfoil stack which interrupts the upstream annular (most aero-engines) or can-partitioned (most land-based gas turbines) duct. It is proposed that a more natural design starting point for admitting and accelerating flow with minimum loss (etc.) is a trumpet-shaped flow-path which gradually turns to the desired angle. This approach rejects many traditional concepts in aerodynamics (the sacrosanct nature of the airfoil, concepts of good and bad lift distributions, concepts of vane and platform, etc.), and focuses our attention on the design of a highly-lofted flow-path. The purpose of this paper is to show that there may be merit in reappraising the starting point for HP vane design, and in investigating Fully Lofted Oval vane (FLOvane) forms of the type described. The corresponding author has not yet heard a good argument against the proposed design philosophy. Despite significantly diverging from conventional wisdom in terms of both process and final geometric form, the following advantages are claimed: improved aerodynamic loss characteristics, reduced heat load, improved cooling performance, improved thermal-mechanical life, improved stage/engine efficiency. The claimed advantages are justified with detailed numerical analyses of two current industrial gas turbines, compared back-to-back with modified turbines incorporating unoptimised FLOvane designs. Significant performance improvements were observed when FLOvane designs were used.
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