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Journal articles on the topic 'Trumpet concerto'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Zavialova, Olha, and Zhang Jinqiu. "Baroque concert for trumpet with orchestra of Italian composers: ways of formation." Culturology Ideas, no. 26 (2'2024) (2024): 53–60. https://doi.org/10.37627/2311-9489-26-2024-2.53-60.

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The ways of formation of the genre of Trumpet Concerto with Orchestra in the work of Italian composers of the Baroque era are highlighted. It was found that the trumpet in the concert genre of a certain period was first used in the work of the Italian Master J. Torelli who was a key figure in the development of trumpet art of the Baroque period in Italy. As one of the founders of the solo Violin Concerto, this artist contributed greatly to the development of the genre of the Trumpet Concerto with Orchestra. The peak of the development of the Trumpet Concert in Italy was the work of Fr. O. Manf

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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 (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 sam

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3

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 (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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4

Grigorev, Konstantin A. "THE ROLE OF ANDRÉ JOLIVET'S TRUMPET COMPOSITIONS IN THE FORMATION OF ORIGINAL CONCERT REPERTOIRE." Arts education and science 3, no. 36 (2023): 25–30. http://dx.doi.org/10.36871/hon.202303025.

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The article deals with the Concertino for Trumpet, Piano and String Orchestra and the Concerto for Trumpet and Orchestra by André Jolivet. Their importance in the development of the original repertoire for this instrument in the XXth century is noted. The author describes the main trends in the development of the trumpet repertoire in the first half of the XXth century in the context of new tendencies in European musical culture. Using a comparative analysis of historical research and the repertoire of that time, the author notes the gradual overcoming of the most acute repertoire deficit, cau

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5

Thomas, Gavin, Heinrich Schiff, Heinz Holliger, et al. "Cello Concerto, Oboe Concerto, Trumpet Concerto, Canto di speranza." Musical Times 135, no. 1812 (1994): 108. http://dx.doi.org/10.2307/1002990.

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6

Mottershead, Tim. "Manchester, Bridgewater Hall: Concertos by Hakola and Broström." Tempo 67, no. 265 (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

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7

Conway, Paul. "Civic Hall, Stratford-Upon-Avon: John McCabe's Trumpet Concerto ‘La Primavera’." Tempo 67, no. 263 (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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8

Carnovale, Norbert, Gunther Schuller, and Robert Waddell. "Concerto for Trumpet and Chamber Orchestra." Notes 43, no. 3 (1987): 679. http://dx.doi.org/10.2307/898222.

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9

Song, Shuailong, and Patrick Niñalga Leo. "Improvement of Hebei College Students' Understanding of Haydn's Trumpet Concerto in E Flat Major." International Journal of Social Science and Humanities Research 12, no. 1 (2024): 150–58. https://doi.org/10.5281/zenodo.10695592.

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<strong>Abstract:</strong><em> </em>This thesis investigates the enhancement of Hebei College students' comprehension of Haydn's Trumpet Concerto in E-flat Major, focusing on strategies to improve music cognition and appreciation. The study delves into the realm of music education and cognitive theories, aiming to address challenges in understanding classical compositions among students. By utilizing a mixed-methods approach, including surveys, interviews, and music analysis, the research analyzes the effectiveness of various educational methodologies in fostering a deeper grasp of the intrica

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Carnovale, Norbert, and Ellen Taaffe Zwilich. "Concerto for Trumpet and Five Players, 1984." Notes 44, no. 4 (1988): 832. http://dx.doi.org/10.2307/941062.

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11

Мур, Б. Р. "Haydn’s Trumpet Concerto in the Twentieth Century." Журнал Общества теории музыки, no. 4(40) (May 15, 2023): 47–78. http://dx.doi.org/10.26176/otmroo.2022.40.4.004.

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В переводе работы американского ученого и музыканта Брайана Мура представлены интересные факты об истории заново открытого произведения Й. Гайдна для трубы в XX веке. Они имеют не только научный, но и исполнительский интерес. Следуя эмпирическим путем, автор не только рассказывает об истории исполнения, редакций и изданий концерта, но и приходит к переосмыслению самих исполнительских принципов в данном произведении — темпов всех частей концерта, штрихов, артикуляции и динамических оттенков. Тем самым он меняет современные общепринятые представления об интерпретации и исполнении концерта в стор

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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (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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13

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 (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 improv

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Zhe, Luo. "Genre and style innovations in the modern trumpet concerto (as Yevgen Stankovych’s “RhapsodyConcerto”)." UKRAINE. EUROPE. WORLD. HISTORY AND NAMES IN CULTURAL AND ARTISTIC REFLECTIONS, no. 6 (June 30, 2023): 227–31. http://dx.doi.org/10.31318/2786-8877.6.2023.291367.

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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 (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. Part

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16

IVANITSKYY, Oleg. "G. TELEMANN CONCERTO FOR TRUMPET IN D MAJOR, DISCLOSURE OF THE COMPOSER’S IDEA AND HIS MUSICAL IDEA." Fine Art and Culture Studies, no. 3 (2022): 13–18. http://dx.doi.org/10.32782/facs-2022-3-2.

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17

Насонов, Р. А. "Bach the Apollonian? Rethinking ‘Six Concerts avec plusieurs instruments’ as a Meaningful Set." Научный вестник Московской консерватории, no. 1(44) (March 23, 2021): 86–117. http://dx.doi.org/10.26176/mosconsv.2021.44.1.005.

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Автор рассматривает «Бранденбургские концерты» И. С. Баха как собрание музыки, выражающее систему представлений композитора о древнем и современном искусстве, гармонии мира и общества, религиозных основах человеческой жизни. Проанализированы существующие аргументы «за» и «против» целостности цикла, представления о мотивах его создания. Основная гипотеза статьи состоит в том, что порядок расположения концертов внутри собрания тщательно продуман Бахом, а все трудно объяснимые особенности отдельных произведений (такие как характер использования малой скрипки в Первом концерте, выбор в пользу баро

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18

Stahnke, Manfred. "György Ligeti: hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern. Aspects of a Crystalline Microtonality." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 2 (2024): 61–89. http://dx.doi.org/10.24193/subbmusica.2024.spiss2.06.

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This is a study on the microtonal aspects of György Ligeti’s Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern, with special reference to its relationship with the American composer Harry Partch. The special mixture of equal temperament versus just intonation is analyzed for longer passages and adhoc chords in the concept of Ligeti. The movement “Choral” is confronted with Harry Partch’s idea of “tonality flux”. The “Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern” by György Ligeti, composed in 1998-2002, joins a long chain of explo

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19

Power, Ian. "FOR/WITH New York City, 15–16 November 2019 THE STORY OF ONE OF MY FOLLIES New York City, 16 November 2019." Tempo 74, no. 292 (2020): 83–85. http://dx.doi.org/10.1017/s0040298219001293.

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In two nights in New York, I saw three world premieres and four other recent pieces at two very different concerts. Friday, 15 November at Issue Project Room in Brooklyn was the concert FOR, the first of two nights called FOR/WITH curated by the trumpeter Nate Wooley. The venue was celebrating the life of its late founder, the artist Suzanne Fiol, and her work was displayed around the hall with an appropriate sense of reverence and intensity. Wooley featured a composer I admire, Eva-Maria Houben of the Wandelweiser collective, and an uncharacteristic solo trumpet piece that she wrote for him c

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Baklazhenko, Оlexandr. "SPECIFICS OF PERFORMING THE BAROQUE TRUMPET REPERTOIRE BY CONTEMPORARY MUSICIANS: HISTORICAL, INTERPRETATIVE AND DIDACTIC ASPECTS (ON THE EXAMPLE OF LEOPOLD MOZART’S CONCERTO IN D MAJOR)." Scientific collections of the Lviv National Music Academy named after M V Lysenko, no. 53 (2025): 3–10. https://doi.org/10.32782/2310-0583-2025-53-01.

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21

Bonus, Alexander. "Johann Nepomuk Hummel, Trumpet Concerto in E major, piano reduction and parts, edited by Michael Kube (Munich: G. Henle Verlag, 2009), viii+68pp. - Johann Nepomuk Hummel, Concerto for Trumpet and Orchestra in E major (Partitur Nr. 15119), and Version in E flat Major (Partitur 15118), edited by Michael Kube (Wiesbaden: Breitkopf & Härtel, 2010), iv+48pp." Nineteenth-Century Music Review 9, no. 2 (2012): 379–87. http://dx.doi.org/10.1017/s1479409812000407.

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Hanganu, Dumitru. "Concert No.2 for trumpet in ‘B’ and piano by Oleg Negruta: structural and interpretative specification." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 17–22. http://dx.doi.org/10.55383/amtap.2022.2.03.

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Oleg Negruta produced different genre pieces for the trumpet. Out of ample pieces we single out the two concerts that contain difficulties for the execution and represent challenges for the performers. Concert nr.2 for the trumpet in ‘B’ and for the piano was written in 2014 and performed in premiere by the trumpet player and professor Vasile Ciubuc. The interpretative language of Concert nr. 2 is guided by the composer, indicating different terms of tempo and dynamic nuances.. The author used different groups of articulations, such as accents, staccato, legato, detache and others. The musical

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23

Martynova, Valeriya. "Concerting oboe: timbre, technique, traditional and latest methods of playing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 149–65. http://dx.doi.org/10.34064/khnum1-50.11.

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Background. Oboe as a concert instrument has passed a rather long path of evolution, on which it has been improved according the parameters of its design, the technique of virtuoso play and the requests of composer writing. The concentrate of universal capabilities of the soloing (concerting) oboe is the concerto genre, in which all these parameters are combined in an integral entire. The objective of this article is to sequentially consider the components of the concerting oboe “image”, such as timbre and articulation-and-stroke technique, including typical and latestmethods of writing and pl

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Fiqriannur, Ibnu Syahruroji. "CONCERT ETUDE TRUMPET KARYA ALEXANDER GEODICKE (ANALISIS TEKNIK PERMAINAN TRUMPET)." Repertoar Journal 1, no. 1 (2020): 36–48. http://dx.doi.org/10.26740/rj.v1n1.p36-48.

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Concert Etude Trumpet bertempo 152bpm. Nuansa lagu ini bersifat Lincah dan Tegang. Kemudian untuk dapat memainkan lagu ini terdapat teknik yang harus dikuasai oleh pemain Trumpet anatara lain Double Tounging, Slur, Legatto, Stacatto. Lagu ini mendominasikan pada teknik Double Tounging. Karya ini telah dimainkan oleh pemain Trumpet ternama, yakni Alison Balsom. Tujuan penelitian ini (1) Untuk mengetahui teknik permainan Trumpet lagu Concert Etude Trumpet. (2) Untuk mengetahui bagian-bagian didalam lagu Concert Etude Trumpet. Teknik pengumpulan data menggunakan reduksi data, penyajian data teks

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Zhe, LUO. "«CONCERT-RAPSODY» FOR SOLO TRUMPET AND STRING ORCHESTRA BY YEVHEN STANKOVYCH IN THE CONTEXT OF TRUMPET CONCERT GENRE EVOLUTION." Humanities science current issues 3, no. 56 (2022): 68–74. http://dx.doi.org/10.24919/2308-4863/56-3-10.

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TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.

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ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial music

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Rickards, Guy. "SKALKOTTAS: 36 Greek Dances (with alternative versions of Nos. II/8–9 & III/6); The Return of Ulysses. BBC Symphony Orchestra c. Nikos Christodoulou. BIS-CD-1333/1334. SKALKOTTAS: Concerto for 2 violins1–3; Quartet for oboe, trumpet, bassoon & piano2,4–6; Concertino for oboe & piano2,4; Concertino for trumpet & piano2,5; Tango and Fox-trot for oboe, trumpet, bassoon & piano2,4–6; Sonata Concertante for bassoon & piano2,6. 1Eiichi Chijiiwa, Nina Zymbalist (vlns), 2Nikolaos Samaltanos (pno), 3Christophe Sirodeau (pno), 4Alexeï Ogrintchouk (ob), 5Eric Aubier (tpt), 6Marc Trenel (bsn). BIS-CD-1244." Tempo 58, no. 227 (2004): 78–80. http://dx.doi.org/10.1017/s0040298204300069.

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Mikhail, Ilienko. "Etudes for Solo trumpet of T. Dokschitzer: aspects of artistic and instructive stylistics." International Journal of Scientific Research and Management 9, no. 10 (2021): 6–8. http://dx.doi.org/10.18535/ijsrm/v9i10.mt01.

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The article is devoted to the consideration of aspects of artistic and instructive stylistics in etudes for the Solo trumpet by T. Dokschitzer’s “Romantic Pictures”. Features of the author’s attitude to the genre of etude are highlighted. For the first time, the characteristic of all 20 etudes of the collection was proposed, in which the cycle features can be seen. This is reflected in the presence of several genre groups of etudes, combined on the basis of the types of “programity” and the relevant articulation means. A characteristic feature of all the etudes of the collection is the s

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HARLEY, MARIA ANNA. "Spatiality of sound and stream segregation in twentieth century instrumental music." Organised Sound 3, no. 2 (1998): 147–66. http://dx.doi.org/10.1017/s1355771898002088.

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Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is alr

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Chen, Chiung-Yao. "Delving into Hearing Threshold of the Delay Gap of Initial Reflection in a Room by Using the Response of Cortical Brainwaves." Applied Sciences 13, no. 21 (2023): 11856. http://dx.doi.org/10.3390/app132111856.

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In this study, the apparent variation ranges of acoustical parameters were investigated in a concert hall. The initial time delay gap (ITDG) was evaluated in terms of its just noticeable difference (JND) through two instruments, the cello and the trumpet. Even though the IDTG values were prolonged over the measurements and were not significantly varied, an ITDG range of 22–220 ms in increments of 91 steps was produced electro-acoustically in an anechoic chamber. The result of JNDc (Δgap/gap) was rated by 50% “different” judgement ranges for the cello and trumpet tracks, respectively. The effec

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Conway, Paul. "Manchester, Cosmo Rodewald Concert Hall: Gordon Crosse's L'enfant sauvage." Tempo 67, no. 266 (2013): 76–78. http://dx.doi.org/10.1017/s0040298213000910.

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Contemporary music ensemble Psappha gave three world premières in a concert at the University of Manchester's Cosmo Rodewald Hall on 8 March 2013. Their programme began with first performances of brief works by two young composers connected with the University. I Lost My Way in Dixieland, by Thomas Jarvis (b.1991), was a deftly realized deconstruction and reinvention of a popular jazz style, with a throwaway ending that made an apt parting gesture for a witty and enjoyable pastiche. And Sempadan, by Sayyid Shafiee (b.1987), made effective use of offstage trumpet and trombone interacting with o

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IVANITSKYY, Oleg. "Technical and artistic means of expression in concerts for trumpet by E. Williams." Humanities science current issues 2, no. 35 (2021): 33–38. http://dx.doi.org/10.24919/2308-4863/35-2-5.

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LUO, Zhe. "THE SOUND IMAGE DYNAMICS OF SOLOIST IN OLEKSANDЕR KRASOTOV’S SYMPHONY-CONCERT FOR TRUMPET". Humanities science current issues 2, № 77 (2024): 134–40. http://dx.doi.org/10.24919/2308-4863/77-2-19.

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Anderson, Julian. "MESSIAEN AND THE NOTION OF INFLUENCE." Tempo 63, no. 247 (2009): 2–18. http://dx.doi.org/10.1017/s0040298209000011.

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In 1989, I bought a CD in Paris of the early piano music of André Jolivet. Like many non-French musicians, I had read the name of Jolivet but heard little of his music. Jolivet's reputation as Varèse's leading pupil and the extreme avant-gardist of the pre-World War II group La Jeune France seemed completely at odds with his conventional post-War music occasionally broadcast on Radio 3, such as the Concertos for Trumpet, Piano or Ondes Martenot–music which suggested not fully assimilated influences of Honegger or Hindemith, with little obviously adventurous about it in its rhythmically conserv

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

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Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads

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Heaton, Roger. "Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019." Tempo 74, no. 292 (2020): 82–83. http://dx.doi.org/10.1017/s0040298219001281.

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The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living

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Goad, Pamela J., and Douglas H. Keefe. "Timbre Discrimination of Musical Instruments in a Concert Hall." Music Perception 10, no. 1 (1992): 43–62. http://dx.doi.org/10.2307/40285537.

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The effects of musical context and musical instrument characteristics on timbre discrimination in a concert hall were examined. Isolated tones and six-tone melodies were recorded in two different locations of a concert hall using five musical instruments. Each trial consisted of either a pair of tones, or a pair of melodies, which had been recorded simultaneously at the two locations on the same instrument. No significant differences were found between responses for isolated tones and responses for melodies. Musical instrument characteristics did prove to be significant, with listeners best ab

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Kaunang, Meyny S. C., and Lucylle Takalumang. "Manado children's choice echo trumpet (review aspects of establishment and development)." JPPI (Jurnal Penelitian Pendidikan Indonesia) 7, no. 3 (2022): 488–94. http://dx.doi.org/10.29210/020211186.

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The purpose of this study was to examine and describe the children's choir of Gema Trumpets, review and how the process of making the Children's Choir of Gema Sangkakala Manado, How is the process of fostering the Children's Choir of Gema Sangkakala Manado, What are the factors that hinder the process? Ordering and coaching the Manado Echo Sangkakala Children's Choir, and What efforts have been made to overcome the obstacles to ordering and coaching the Echo Trumpets Children's Choir. The research method used in this study is qualitative. Data technique is done by observation, interview, docum

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Trush, Sergey. "Biden’s China policy: concepts, events, preliminary results." Russia and America in the 21st Century, no. 4 (2021): 0. http://dx.doi.org/10.18254/s207054760017949-0.

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Biden’s foreign policy team worked out the new concept of its relations with China. The main idea of this concept is more nuanced approach to China’s behavior, reassessing bilateral ties with China to separate the spheres of confrontation, regulated competition and possible cooperation for commonly shared goals. However, this concept and ideology still failed to be applied to practical policy. Biden’s many steps towards China, especially in economic and military realms, are in fact showing the inertia and obvious continuity with Trump’s policies. In political sphere, Biden’s stress for «human

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KLEPPINGER, STANLEY V. "The Structure and Genesis of Copland'sQuiet City." Twentieth-Century Music 7, no. 1 (2010): 29–59. http://dx.doi.org/10.1017/s1478572211000041.

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AbstractAaron Copland'sQuiet City(1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw's play.The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection gov

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Nelson, Bradley. "Donald Trump’s Spheres of Influence Strategic Doctrine." Journal Of Global Strategic Studies 5, no. 1 (2025): 1–27. https://doi.org/10.36859/jgss.v5i1.2842.

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The second Trump administration is disrupting both longstanding U.S. foreign policy and the foundations of the liberal world order. Under Trump 2.0, America has junked its strategic policy of global liberal hegemony in favor of a doctrine of spheres of influence. At bottom, Washington now pursues a coercive, rapacious, power-driven approach to the broader Western hemisphere, threatening and bullying neighbors and allies, while at the same time leaving Russia and China with the requisite space and freedom to do as they wish in their own geopolitical backyards. The dramatic transformation in U.S

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Talbot, Michael. "Concerti musicali, Opus 6, and: Sinfonia in D (G. 21) for 1/2 Trumpet(s), Strings & Continuo (review)." Notes 60, no. 2 (2003): 534–38. http://dx.doi.org/10.1353/not.2003.0172.

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Ben, Gu. "Starry Sky Lightens the Hearts of Music Lovers." Russian Musicology 140, no. 2 (2025): 121–29. https://doi.org/10.56620/rm.2025.2.121-129.

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The author begins with his own experiences as an amateur trumpeter during his school years, and explains the current situation of an amateur orchestra in China, especially in Beijing, and then tells about the formation and events of the Starry Sky Orchestra that include their classical music concerts and educational lectures. Starry Sky formed from the Three Highs Orchestra that was begun by the Vice Premier of China, Lanqi Li, in 2012. The new orchestra Starry Sky now comprises amateurs, or “lovers of music,” from the governmental, medical, engineering, academic and other professions, open to

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Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure." Issues in Ethnology and Anthropology 3, no. 3 (2008): 129–43. http://dx.doi.org/10.21301/eap.v3i3.7.

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Music festivals consist of a complex of interactions and social and cultural experiences. This paper analyzes music festivals in SE Europe in their function as a planetary prouction, combining regional cross-cultural perspectives and local politics. At the beginning of the 1990s music events in SE Europe (concerts, festivals, cultural happenings) were either a part of political conflict, antagonisms and economic crises, or they were included in the music world through the cultural contacts of global achievements – the music net and industry. Music festivals become the arena and scene of a cont

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Jonutytė, Jurga. "Negalios sąvoka: ontologinės ir epistemologinės prielaidos." Deeds and Days 74 (2020): 139–56. http://dx.doi.org/10.7220/2335-8769.74.7.

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Straipsnio tikslas – pristatyti šiuolaikinės negalios filosofijos problematiką, susitelkiant prie ontologinių ir epistemologinių eiblistinės kultūros prielaidų. Negalia straipsnyje suprantama ir aiškinama kaip kultūrinis fenomenas, o ne kaip natūrali biologinė duotis (tai būdinga visai negalios filosofijos krypčiai, iš kurios čia daugiausia remiamasi Billo Hugheso, Lennardo Daviso, Margrit Shildrick tekstais). Pirmiausia straipsnyje trumpai aptariama žmogiško kūno normos problematika (pasak Daviso, Michelio Foucault, George’o Canguilhemo), aiškiamasi, kiek ir kaip atskirose kultūrose įsigalinč

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ENDRICH, ARCHER. "Composers' Desktop Project: a musical imperative." Organised Sound 2, no. 1 (1997): 29–33. http://dx.doi.org/10.1017/s1355771897000071.

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In the early 1970s, you could have gone to Trevor Wishart's front garden on St Mary's in York and found huge slabs of steel sheeting. You could have walked into the Lyons Concert Hall of York University and found him and several other people using 20′ scaffolding poles as trumpets (now that's a great sound!). While I was still in the States in 1969, I made a 3′ diameter red gong from the hood of a truck ( = bonnet of a lorry) and could be seen striking a suspended piece of ¼“ curved steel flooring with a sledge hammer, etc. etc. Scenes like this were duplicated across the world. Why? How did i

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Iltis, Peter W., Sarah L. Gillespie, Jens Frahm, Dirk Voit, Arun Joseph, and Eckart Altenmuller. "Movements of the Glottis During Horn Performance: A Pilot Study." Medical Problems of Performing Artists 32, no. 1 (2017): 33–39. http://dx.doi.org/10.21091/mppa.2017.1007.

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OBJECTIVE: The functional role of the glottis in brass performance is poorly understood and controversial, particularly with respect to pedagogy. Technological limitations have prevented the non-invasive, systematic study of the glottis in the past, but developments in real-time magnetic resonance imaging (RT-MRI) allow representations of glottal movement during performance on a MRI-compatible horn to be recorded and quantified. METHODS: We present RT-MRI data obtained on 6 advanced-level horn players from serial images acquired at an acquisition time of 33.3 ms as they performed sustained not

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Conway, Paul. "BBC Proms 2013: Diana Burrell, Harrison Birtwistle, Param Vir and Charlotte Seither." Tempo 68, no. 267 (2014): 57–59. http://dx.doi.org/10.1017/s0040298213001368.

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As in previous Proms seasons, Cadogan Hall's 2013 chamber concerts series presented some of the most interesting repertoire. On 5 August, Tine Thing Helseth and her all-female brass ensemble tenThing gave the world premiere of a new piece by Diana Burrell. She has already written a substantial work for brass ensemble, Gold, dating from 2001 (which also requires 3 gongs and a piano), and her new BBC commission has a similarly punchy title capturing the bright and burnished qualities of its instrumentation – Blaze. Scored for three trumpets, flugelhorn, horn, three tenor trombones, bass trombone

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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.

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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms

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TYRE, JESS. "Music in Paris during the Franco-Prussian War and the Commune." Journal of Musicology 22, no. 2 (2005): 173–202. http://dx.doi.org/10.1525/jm.2005.22.2.173.

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ABSTRACT The years 1870––71 marked the beginning of dramatic changes in French political and cultural life. A few short months witnessed defeat to Germany in the Franco-Prussian War and the fall of the Second Empire, as well as the rapid rise of the Paris Commune and its subsequent violent suppression through the establishment of republican government. The Parisian musical world, while severely affected by the events of war and deprived of performers and audiences, did not come to a standstill. Indeed, these years ushered in a remarkable increase in the number of institutions and concert socie

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