Dissertations / Theses: '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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Broberg, Elvira. "Virtuos romantik i trumpetklang : en studie om Vassily Brandts Trumpet Concerto No. 1." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2441.

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Haley, Matthew. "A Performance Guide to Bernd Alois Zimmermann's Trumpet Concerto, "Nobody Knows De Trouble I See"." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271825/.

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Bernd Zimmermann's Trumpet Concerto, "Nobody Knows de Trouble I See" is an important twentieth-century work for trumpet. Despite the stature of the composition, it has rarely been performed due to its considerable musical and technical demands. Integrating these diverse demands into a coherent performance requires careful consideration of the various performance practice consequences. The study begins by exploring the historical and musical context in which the work was written. It then considers the individual musical elements of the concerto. Finally, the study examines the performance practice implications of the work. The performance guide serves as a framework for making intelligent musical and technical decisions through context, analysis, and practical considerations.

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Sobieralski, Nathan James. "A performers analysis of Nicholas Francis' Concerto for trumpet and wind ensemble." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807701&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Murray, Robert. "A Performance Guide to Tomas Svoboda's Duo Concerto for Trumpet and Organ, Op. 152." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3224/.

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The Duo Concerto Trumpet and Organ, Op.152 by Tomas Svoboda was written in memory of and commissioned by the friends of the late Richard Thornburg, second trumpet of the Oregon Symphony. Through the use of primary sources, Tomas Svoboda, composer and organist at the premiere, and Fred Sautter, principal trumpet of the Oregon Symphony and trumpeter at the premiere, the performance guide illuminates the piece with a discussion of five different topics. Chapter 2 of the guide reveals the circumstances of the commission and the initial compositional process. Chapter 3 discusses the performance history of the concerto, including the premiere. Chapter 4 provides analytical insights with programmatic titles accompanying the formal layout of the piece. Chapter 5 presents the piece from the standpoint of performance preparation. Chapter 6 concludes the guide with final thoughts of the composer, Tomas Svoboda. The guide provides the performer studying this piece the historical context of the concerto and highlights programmatic elements of the piece not apparent in its published form.

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Treybig, Joel Andrew. "An investigation and analysis of Karel Husa's Concerto for trumpet and wind orchestra /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Crafton, Jason Allen. "A Trumpeter's Guide to Samuel Barber's Capricorn Concerto." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30449/.

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Samuel Barber's Capricorn Concerto for flute, oboe and trumpet with strings is an important though seldom performed work. The concerto is teeming with performance choices that are indicative of both historical and contemporary influences. At present, there are limited resources available to performers regarding Capricorn. The first section of this study presents an historical and contextual examination of Capricorn both in terms of Barber's own compositional output and that of his influences and contemporaries. The second section includes a performance analysis of the work, while the third section includes an analysis of existing recordings. Implications for the performer are outlined in last section. The guide provides performers with pertinent background, analytical and performance information in order to facilitate informed, high-level performance.

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Dissenha, Fernando Luis. "Os trompetistas e o repertório da Osesp nas temporadas de concerto de 1977 a 1980." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07072017-142440/.

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

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Murray, Robert Patrick. "A performance guide to Tomas Svoboda's Duo concerto for trumpet and organ, op. 152." view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/murray%5Frobert/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by 4 recitals, recorded June 23, 1997, Nov. 17, 1997, June 19, 2001 and June 3, 2002. Includes bibliographical references (p. 41-[42]).

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Cernuto, Joseph Raymond. "Analytical, interpretative, and performance guides for conductors and soloists to John Mackey's Harvest: concerto for trombone, Drum music: concerto for percussion, and Antique violences: concerto for trumpet." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6071.

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Klinefelter, Katherine Lee. "An examination of Andre Jolivet’s Concertino for trumpet, Oskar Bömhe’s Concerto for trumpet in F minor, Tomoso Albinoni’s Sonata á 6 con tromba, and Manuel de Falla’s Suite of old Spanish dances." Kansas State University, 2011. http://hdl.handle.net/2097/8613.

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Master of Music
Department of Music
Gary Mortenson
This Master’s report focuses on analyzing the four works performed on the author’s Master’s recital on April 10, 2011, from a biographical, historical, theoretical, and technical standpoint. These works include André Jolivet’s Concertino for Trumpet, Oskar Böhme’s Concerto for Trumpet in F Minor, op. 18, Tomaso Albinoni’s Sonata á 6 con Tromba, and Manuel de Falla’s Suite of Old Spanish Dances.

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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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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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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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Dourado, André Filipe Dâmaso. "Uma aproximação estilística e histórica ao Concerto nº 1 para Trompete e Orquestra de Charles Chaynes." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/13010.

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Este trabalho projeto ocupa-se da realização de uma análise interpretativa do Concerto para Trompete e Orquestra de Câmara nº 1 do compositor Charles Chaynes , uma obra muito importante no repertório do séc. XX do trompete. Uma obra em três andamentos contrastantes entre si, no que diz respeito á sua linguagem, à métrica, ao timbre, ao lirismo, à expressividade, ao contorno, ao timbre, entre outros. O Objeto da análise interpretativa pertence a um conjunto de obras que foram compostas para o concurso do Conservatório Nacional de Paris. As composições que são utilizadas para esse concurso devem obedecer a alguns parâmetros, nomeadamente visar cada uma das características técnicas do instrumento (potência, agilidade, expressão, registos, resistência, timbres, etc…). A seguir à análise interpretativa ponho em contraponto duas das mais conceituadas interpretações da obra, nomeadamente as de Maurice André e Eric Aubier. Deste “embate” de interpretações demonstro quais as opções interpretativas mais em consonância com o texto musical; Abstract: “A Historical and Stylistic Approach of Charles’s Concerto for Trumpet nº1” This dissertation is concerned with the realization of an interpretative analysis of the Concerto for Trumpet and Chamber Orchestra No. 1 composed by Charles Chaynes, a very important work in the repertoire of the trumpet in the XX century. A work in three contrasting movements among themselves in regard to is language (the metric, the timbre, the lyricism, expressiveness, the contour, timbre, among others). The object of interpretative analysis belongs to a group of works that were composed for the competition of the National Conservatory of Paris. The compositions which are used for this competition have to obey some parameters, particularly targeting each of the technical characteristics of the instrument (power, agility, expression, range and tone). Following the interpretative analysis of the most renowned interpretations of the work, Maurice André and Eric Aubier i will demonstrate the interpretative options that are more in line with the musical composition.

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Locatelli, Nikola Cunha. "Concerto para trompete e orquestra de cordas de Alfredo Dias: perspectivas interpretativas." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6605.

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Made available in DSpace on 2015-05-14T12:52:32Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7762651 bytes, checksum: fd665319950500f26eeecebc340a5a5b (MD5) Previous issue date: 2013-05-27
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present dissertation is about the study of the Concerto para Trompete e Orquestra de Cordas Concert for Trumpet and String Orchestra by the composer Alfredo Silveira Dias Filho. This is a qualitative research with three subjects, which are important soloists, teachers and orchestral musicians in the nacional scenario. The focus of the first chapter is mainly the technical-interpretative problems found in the performance of the concerto and the technical fundaments of the trumpet. On the second chapter it is included a biography of the composer, historical data of his work and the explanation of the technical-interpretative questions presented to the subjects. It is also in this chapter that the technical-interpretative questions, which were presented to the subjects to answer, are explained. The third chapter has a description of the methodology of the research, which was based in structured questionnaires that were answered by the subjects. The third chapter finishes with the comparison and analysis of the obtained answers. The dissertation ends with the final considerations, which demonstrates the importance of the performer when looking to the score and constructing the musical speech. Between the three subjects, it can be seen not only differences, but also many common points. The main objective of this study is to build interpretative questions that might be found in the Concerto and how the three professors think about these questions and pursue to solve them. From the crossing and analysis of their answers, we seek to achieve a broader view of the piece, and finally the possible solutions of its technical-interpretative questions.
Este trabalho destina-se ao estudo interpretativo do Concerto para Trompete e Orquestra de Cordas do compositor Alfredo Silveira Dias Filho. Trata-se de uma pesquisa qualitativa com três sujeitos, que são importantes solistas, professores e músicos de orquestra no âmbito nacional. No primeiro capítulo serão abordados fundamentalmente problemas técnico interpretativos na performance do concerto e os fundamentos técnicos do instrumento. No segundo capítulo encontra-se uma biografia do autor, dados históricos de sua obra e estão explicadas as questões técnico-interpretativas apresentadas aos sujeitos de pesquisa. O terceiro capítulo possui uma descrição da metodologia da pesquisa, a qual se utilizou de questionários estruturados que foram respondidos pelos sujeitos. Ainda neste capítulo encontra-se a comparação e análise das respostas obtidas. A dissertação se encerra com as considerações finais sobre a importância do olhar do intérprete sobre a partitura e como a construção do discurso musical entre os três sujeitos apresenta além de divergências, muitos pontos em comum. Buscou-se como objetivo principal desta dissertação fazer um levantamento das questões interpretativas que podem ser encontradas no Concerto e como três músicos profissionais pensam estas questões e procuram resolvê-las. Do cruzamento e análise das respostas procura-se ter uma visão mais ampla da obra e das possíveis soluções de suas questões técnico-interpretativas.

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Sullivan, Michael. "A pedagogical approach for developing the endurance, technical facility and flexibility necessary to perform Anthony Plog's Concerto for Solo Trumpet, 14 Brass, and Percussion." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528052.

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Anthony Plog's Concerto for Trumpet, 14 Brass, and Percussion offers many performance issues and there are many methodologies and pedagogical concepts that one can utilize in order to achieve the endurance, flexibility, and technical facility required. This project report outlines readings and methodologies the author used to achieve the skills listed above. The first chapter discusses the objective pedagogy of David Hickman. Hickman's pedagogy encompasses an array of opinions on common developmental exercises. Chapter 2 concentrates on the methodology of James Stamp, emphasizing range building and endurance but with a unique approach that also develops sound production. The third chapter discusses Anthony Plog's methodology that directly concentrates on the technical facility required to play his concerto. The final chapter discusses preparation for the performance and choosing the appropriate instrument.

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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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Stoupy, Etienne Denis. "A Performance Guide to the Trumpet Repertoire of Jacques Castérède Focusing on Brêves Rencontres and Concertino for Trumpet and Trombone." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68049/.

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Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.

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

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The purpose of this essay is to encourage the study and performance of trumpet concertos written by notable contemporary composers. The essay focuses on two outstanding trumpet concertos composed in recent years: Lowell Liebermann’s Concerto for Trumpet and Orchestra, op. 64 and John Williams’ Concerto for Trumpet and Orchestra. The essay specifically provides the following information: 1) a concise history of the concerto for trumpet, 2) a short biography of Lowell Liebermann and John Williams, 3) the history of Liebermann’s and Williams’ concertos for trumpet, 4) musical analysis of both concertos, 5) a soloist’s practice and performance guide to both works, and 6) a short list of other contemporary trumpet concertos worthy of study. Both Liebermann’s and Williams’ trumpet concertos acknowledge established musical convention, and neither uses any experimental performance techniques. However, both works are written in their own distinctive harmonic language, and each provides its own unique modifications to traditional forms and melodic shapes. Hopefully, this essay will advance the status of Liebermann’s Trumpet Concerto and Williams’ Trumpet Concerto in the history of the trumpet concerto genre and serve as a resource for those who wish to research, study, and perform Liebermann’s Concerto, Williams’ Concerto, or other contemporary trumpet concertos.

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Harris, Kristine Lynn. "A collection of cadenzas for the trumpet concertos of Franz Joseph Haydn and Johann Nepomuk Hummel." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137621.

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The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences.
School of Music

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Zanelli, Elisa. "Il concetto di "presidentialness" nell'era di Trump: un'analisi corpus-assisted." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15364/.

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The aim of my dissertation is to study the language used by the current President of the United States, Donald J. Trump, by applying a corpus-assisted approach. Over the last two years, the President has become a permanent fixture in the news. The media have analyzed not only his political agenda, but also his appearance and his language. Oftentimes, neither has been judged “presidential enough”, although there are no established criteria to identify “presidentialness”. In the first two chapters, I provide a theoretical background to the main arguments of the dissertation. The first chapter focuses on the meaning of political discourse analysis and corpus-assisted discourse analysis. The second chapter then contextualizes the speaker (President Trump) and his relationship with the media. In the third chapter, I explain how the two corpora (containing speeches produced by Donald Trump during rallies or during presidential events) were built; I will subsequently conduct an analysis of the said corpora to identify certain linguistic traits of the President’s language. These expressions will serve as a starting point for my observations. I finally sum up my findings and attempt to evaluate the “presidentialness” observable in the President’s language, with respect to the typical features observed in the candidate’s language. In the conclusion I also suggest topics for further analysis. These include the building of additional corpora formed of transcriptions of other candidates’ speeches, that could be used to rule out linguistic phenomena that could have been erroneously ascribed to President Trump, but are really typical of the genre of institutional speeches at large.

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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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

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Foster, Christopher C. "An examination of music for trumpet and marimba and the Wilder Duo with analyses of three selected works by Gordon Stout, Paul Turok, and Alec Wilder." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5182.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 21, 2004, June 13, 2005, Mar. 27, 2006, and Sept. 21, 2007. Includes bibliographical references (p. 141-143).

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Moura, Junior Nivaldo Camargo de. "Agrupamento de notas: aplicação do conceito interpretativo na obra estudo para trompete em Dó, de Camargo Guarnieri." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7343.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Abstract: The present research was developed through the application of the Group of Notes, concept presented by James Morgan Thurmond (1991) in the book: Note Grouping: A Method for Achieving Expression and Style in Musical Performance, being used as tool for interpretative suggestion in the work Estudo Para Trompete em Dó, by the Brazilian composer Camargo Guarnieri. Initially a bibliographical survey was carried out on the research and repertoire productions related to the interpretive practices for solo trumpet in Brazil, as well as a historical and methodological linkage of musical expressiveness, approaching the pedagogy of musical expressiveness, the grouping of notes and finally the application of this concept as an interpretative suggestion in specific sections of the work, object of study researched.
Resumo: A presente pesquisa desenvolveu-se através da aplicação do Agrupamento de Notas, conceito apresentado por James Morgan Thurmond (1991) no livro: Note Grouping: A Method for Achieving Expression And Style in Musical Performance, utilizando-se como ferramenta para sugestão interpretativa na obra Estudo para trompete em Dó, do compositor brasileiro Camargo Guarnieri. Inicialmente realizou-se um levantamento bibliográfico sobre as produções de pesquisas e repertório relacionados às práticas interpretativas para trompete solo no Brasil, bem como uma vinculação histórica e metodológica da expressividade musical, abordando a pedagogia da expressividade musical, o agrupamento de notas e, por último, a aplicação deste conceito como sugestão interpretativa em trechos específicos da obra, objeto de estudo pesquisado.

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Forsstedt, Martin. "Tekniskt hantverk eller personligt uttryck : Måste man välja?" Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13441.

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Syftet med detta arbete är att öka insikten i hur fördelningen mellan hantverk och uttryck ser ut på trumsetslektioner inom genrerna rock/pop/jazz och hur olika lärare arbetar kring/med begreppen personligt uttryck och hantverk. Jag har intervjuat fyra pedagoger – tre från musikskolan och en från gymnasiet – och använt mig av kvalitativ intervju som metod. Följande forskningsfrågor ligger som grund för arbetet: Finns det en tydlig uppdelning mellan moment som fokuserar på hantverk och personligt uttryck under trumsetslektioner på gymnasieskolan och kulturskolan - och i så fall, hur ser fördelningen mellan dessa inslag ut? Hur hanterar trumsetslärare dessa två begrepp i sin undervisning? Resultatet visar att samtliga informanter inkluderar moment som kretsar kring både hantverk och personligt uttryck i trumsetsundervisningen. De kombinerar ibland dessa två områden men resultaten visar även att användandet kan bero på undervisningens natur snarare än aktiva val gjorda av informanterna. De deltagande trumsetslärarna definierar personligt uttryck som något som har med det musikaliska att göra till skillnad från hantverket, som har att göra med tekniskt kunnande. Fokus på lektionen tenderar att väga över åt det personliga uttrycket, så länge eleven har kommit till en viss grundläggande hantverksmässig nivå. Gemensamt för alla informanter är att fokus har flyttats från ett mer tekniskt/hantverksmässigt fokus till ett mer individinriktat med betoning på uttryck, i takt med ökad arbetslivserfarenhet. De informanter som har arbetat på både gymnasium och kulturskola menar att betygen kan verka hämmande i valet av fokus, eftersom personligt uttryck kan te sig mera svårbedömt än teknisk färdighet.
The aim of this work is to increase an understanding of how the division between a technical and personal expression in teaching the drums in the genres of rock, pop and jazz, and how teachers work around or with the concepts of personal expression and technique. I have interviewed four teachers and used the qualitative interview method. The following research questions are the basis of the work: Is there a clear division between the elements that focus on a technical and personal expression in teaching the drums in high school and school of music and arts - and if so, what is the relationship between those elements? How do drum teachers handle these two concepts in their teaching? The results indicate that all the informants include elements that revolve around both a technical and personal expression in drum lessons. They sometimes combine these two, but the results also show that the use may depend on the nature of teaching rather than an active choice made by the informants. The participating teachers define self-expression as anything that relates to the musical side of playing as opposed to the technical, which has to do with technical expertise. Focus on the lesson tends to lean more to the personal expression, as long as the student has reached a certain basic level of technique. Common to all informants is that the focus has shifted from a more technical and craft-oriented focus to a more individual emphasis with a focus on expression, with an increase in work experience. The informants who have worked at both the high school and school of music and arts level believe that grades may constrain the choice of focus, as self-expression may seem more difficult to assess than technical skills.

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Hirsch, Jameson K., Kittye K. Hirsch, Abbey Mann, Stacey L. Williams, Julia Dodd, T. J. Cohn, and E. C. Chang. "Post-election Concerns About Rights and Safety are Related to the Mental Health of LGBTQ Communities: This is Not Fake News." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/703.

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Зальцман, Д. И., and D. I. Zaltsman. "Речевые портреты Дж. Байдена и Д. Трампа в ходе предвыборной кампании 2020 года : магистерская диссертация." Master's thesis, б. и, 2021. http://hdl.handle.net/10995/100862.

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Работа посвящена созданию и апробированию исследовательской модели, позволяющей описать языковую личность кандидатов Дональда Трампа и Джозефа Байдена во время предвыборной кампании 2019-2020 гг.. Материалом для исследованиями послужили транскрипты публичных выступлений Джозефа Байдена и Дональда Трампа во временном промежутке президентской кампании 2019-2020 гг. с сайта www.rev.com. Данный ресурс содержит все публичные выступления кандидатов и предоставляет полноценный корпус текстов речей. В первой части работы рассматриваются основные направления в речевом портретировании, риторической критике, концептуальном анализе. Предлагается интегративная методика речевого портретирования, включающая в себя концептуальный и стилистический уровни. Особое внимание уделяется различным аспектам в создании речевого портрета. Во второй части работы выявляются, описываются и классифицируются доминантные концепты и средства стилистической выразительности в речи каждого из кандидатов. Также проводится сопоставительный анализ на каждом уровне исследования. Особое внимание уделяется эмотивному компоненту лингвостилистического анализа. Доминантными концептами Дж. Байдена являются: «коронавирус», «единство», «свой человек». Доминантными концептами Д. Трампа: «демократическая партия», «фэйк ньюс», «военные силы». Доминантными средствами стилистической выразительности кандидата Байдена являются: метафора, повтор, противопоставление, эпитет. Доминантные средства стилистической выразительности кандидата Трампа представлены риторическими вопросами, сослагательными конструкциями и эпитетами. Результаты исследования могут быть использованы в ряде курсов и дисциплин академического цикла: политической лингвистики, лингвоконцептологии, лингвостилистики, лингвистической персонологии, дискурсологии.
The work is devoted to the creation and testing of a research model that allows describing the linguistic personality of candidates Donald Trump and Joseph Biden during the 2019-2020 election campaign. The research material was comprised by transcripts of public speeches by Joseph Biden and Donald Trump during the 2019-2020 presidential campaign from the website www.rev.com. This resource contains all public speeches of candidates and provides a full-fledged corpus of speech texts. In the first part of the work, the main directions in speech portraiture, rhetorical criticism, and conceptual analysis are considered. An integrative method of speech portraiture is proposed, which includes conceptual and stylistic levels. Special attention is paid to various aspects in creating a speech portrait. In the second part of the work, the dominant concepts and means of stylistic expressiveness in the speech of each of the candidates are identified, described and classified. A comparative analysis is also carried out at each level of the study. Special attention is paid to the emotive component of linguistic-stylistic analysis. The dominant concepts of J. Biden's words are: "coronavirus", "unity", "your own person". The dominant concepts of D. Trump are: "the Democratic party", "fake news", "military forces". The dominant means of stylistic expressiveness of candidate Biden are: metaphor, repetition, opposition, epithet. The dominant means of stylistic expressiveness of Candidate Trump are represented by rhetorical questions, subjunctive constructions and epithets. The results of the research can be used in a number of courses and disciplines of the academic cycle: political linguistics, linguistic conceptology, linguistic stylistics, linguistic personology, discursology.

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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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Hirsch, Jameson K., Andrea Kaniuka, Byron Brooks, Kittye K. Hirsch, Tracy J. Cohn, and Stacey L. Williams. "Postelection Distress and Resiliency in LGBTQ Communities: An Overview of Real Data, Not Alternative Facts." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/704.

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As with every U.S. election cycle, the early 2016 election season was a roller-coaster experience, with positive and negative campaign messages emerging from both parties, and with high hopes and dashed hopes for both Democratic and Republican candidates. However, as Donald J. Trump emerged as the Republican candidate to challenge Democrat Hillary R. Clinton for the Office of President, the United States appeared to be equally bemused, horrified and confident in a Democratic victory — after all, how could someone so unorthodox as Donald Trump become the next president? His divisive campaign had become predictive, for many voters, of a clear victory for Clinton. However, those within vulnerable groups, including women, immigrants and the LGBTQ communities, along with many allies, noted the growing normalization of his micro- and macro-aggressions by the mainstream media, and the societal legitimization of his campaign.

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Lockard, Douglas Todd 1965. "A stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet." 2001. http://hdl.handle.net/2152/11341.

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李政祥. "Alexander Arutiunian’s Trumpet Concerto: Analytical and Performance Studies." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/80730053565988293938.

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碩士
臺北市立教育大學
音樂藝術研究所
94
This study on the trumpet concerto by Alexander Arutiunian probes into its background of creation, the composer’s biography, the musical form and style. It aims to provide reference for music teachers, amateur and professional musicians alike. After an introduction to Arutiunian’s life and the work’s genesis, aspects of musical form, structure and style, and then issues of performance and interpretation will be analyzed. Especially by comparative study of five recorded versions (Timofei Dokshitser, Maurice Murphy, Sergei Nakariakov, Arturo Sandoval and William Forman),questions of performance such as tempo, dynamics, playing technique and tone colors will be discussed. This research could benefit future players of this concerto, stimulate interest in Arutiunian’s music, and also in other modern trumpet repertoire.

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CHEN, KANG-CHI, and 陳康棋. "The Analysis and Interpretation of Neruda Trumpet Concerto." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/vz2cmr.

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碩士
國立臺灣藝術大學
音樂學系
107
Johann Baptist Georg Neruda (1706-1780) is one of the lesser known composers between the eighteenth century Baroque era and the Classical era. Not many people do research on his only Neruda Trumpet Concerto because of the unknown compositional date and the late publication date. The author hopes to use this piece for the trumpet players and by collecting the information and the research, it can help the trumpet players greatly. And for the other trumpet works, people can single out one thing and bring out its bearing in addition to mastering the style and characteristics of the musical works. So more various repertoire can be created, and the trumpet players can enjoy the creation and joy while performing, and this piece can become the benchmark when learning trumpet. According to the urtext, the introduction of the repertoire of the voice data, the academic papers, theses, and related books, the author analyzes the composition, probes into the interpretation, and strongly argues that it is one of the trumpet concertos in the Classical Era. The thesis can be divided into five chapters. The first chapter is the introduction, and it introduces the motives, goals, the research and the ranges. The second chapter is the introduction of the life of the composer and background of the composition. The third chapter is the analysis of the composition in addition to researching the structure, thematic motives and compositional techniques. The fourth chapter is the interpretation about the composition. After the analysis and research of the composition, the author explores the musical meanings between phrases and the techniques. In addition, the author explores the problems and the solutions when playing and talks about the interpretations according to the basis of the structure of the composition. In addition, the author talks about the problems when playing and its solution. The fifth chapter is the conclusion, which is the final summary of the thesis.

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Cheng-Hsiang, LEE, and 李政祥. "Alexander Arutiunian's Trumpet Concerto: Analytical and Performance Studies." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/31601186407728350438.

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碩士
臺北市立教育大學
音樂藝術研究所
94
This study on the trumpet concerto by Alexander Arutjunjan probes into its background of creation, the composer’s biography, the musical form and style. It aims to provide reference for music teachers, amateur and professional musicians alike. After an introduction to Arutjunjan’s life and the work’s genesis, aspects of musical form, structure and style, and then issues of performance and interpretation will be analyzed. Especially by comparative study of five recorded versions (Timofei Dokshitser, Maurice Murphy, Sergei Nakariakov, Arturo Sandoval and William Forman), questions of performance such as tempo, dynamics, playing technique and tone colors will be discussed. This research could benefit future players of this concerto, stimulate interest in Arutjunjan’s music, and also in other modern trumpet repertoire.

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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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Chun, Liu Yu, and 劉郁君. "A Performance Interpretation Of The Trumpet Concerto By Joseph Haydn." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/12479360511262587593.

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Sun, Yungshou, and 孫永守. "A study on G. Torelli's Concerto in D Major for Trumpet and Orchestra and J. Haydn's Concerto in E-flat Major for Trumpet and Orchestra." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/27893650313058808776.

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Lin, Weilun, and 林暐倫. "The Analysis and Interpretation of Hummel’s Trumpet Concerto in Eb Major." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/48598136407599711180.

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碩士
輔仁大學
音樂研究所
100
Joseph Haydn composed a trumpet concerto in the classical period. It’s a new initiative in the trumpet world. Due to the imperfections in the instrument construction, composers mostly prefer not to compose for trumpet. In that situation, Johann Nepomuk Hummel still composed a concerto for trumpet, after he had a discussion with Anton Weidinger, it’s undoubtedly a major step forward in the trumpet literature. This study explores the trumpet concerto from three directions. Chapter two surveys the literature related to the background of this music piece. The survey includes a description of the life of Johann Nepomuk Hummel. From Hummel’s life we hope to understand the characteristics of his music and the historical background of his trumpet concerto. Chapter Three presents a complete analysis of this music. The musical structure, tonality, form, tempo, elements will be analyzed. Chapter Four presents a full interpretation of this music. The interpretation includes the results from self realization when playing the piece.

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CHEN, YEN-WEI, and 陳彥維. "The Analysis and Interpretation of Joseph Haydn Concerto for Trumpet and Orchestra." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7g4hse.

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碩士
國立臺灣藝術大學
音樂學系
108
Joseph Haydn’s (1732-1809) “Trumpet Concerto in E flat” was written in 1796, a work in his later years, the last work in his life as well. It was written for his friend Anton Weidinger(1766-1852), an Austrian trumpet virtuoso.Weidinger improved a nature trumpet by adding holes and five keys, which made it able to play harmonic or chromatic notes, other than those only in A or D scales.This improvement had been touching discussions among musicians. The concerto had been disappeared from sight until discovered and published 100 years later, when people realized “Trumpet Concerto in E flat” is so significant in the history of trumpets. Weidinger’s improved trumpet conduced to Haydn’s “Trumpet Concerto in E flat”, and again later Johann Nepomuk Hummel’s (1778-1837) Trumpet Concerto in E major. Haydn’s and Hummel’s Trumpet Concertos are both ones of common scales in competitions, orchestra exams and concerts.Weidinger’s improved trumpet is replaced with current one at last. Howerver, keyed trumpets and works are still valuable in history of trumpets.

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Dissertations / Theses on the topic 'Trumpet concerto'

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