Relevant bibliographies by topics / Trumpet music (2 trumpets)

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

Academic literature on the topic 'Trumpet music (2 trumpets)'

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

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Journal articles on the topic "Trumpet music (2 trumpets)"

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Kontsevych, O. Yu. "Diary of performing mastership: the sphere of universal skills of modern trumpeter." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 174–89. http://dx.doi.org/10.34064/khnum1-54.11.

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At the present stage of development, the musical society has the centuries-long artistic experience. The evolution of educating professionals in the performing sphere has contributed to the creation of musical masterpieces in different genres. The birth and decline of numerous musical styles and trends has led to new requirements for trumpeters and their capabilities. Of course, the development of trumpet playing has always been accompanied by the new techniques and methods aimed at implementing the composer tasks. However, we can often observe the use and borrowing of the same performance techniques and methods aimed at overcoming common difficulties, for example, in academic or jazz music. Modern Ukrainian primary and secondary educational institutions maintain their position to educate narrow specialized trumpeters, while European countries are increasingly frequently raising universal performers. The trumpeters having one-vector performance skills, for example, academic or solely jazz ones, narrow own performance capabilities. It limits their professional performance in their subsequent solo and orchestral practices. This suggests the need to create the methods for training special universal skills for trumpeters, which will expand their capabilities and ensure the ability to play different music. The article explores the universal performances abilities of a modern trumpeter. The capabilities and skills are singled out, combinations of which allow the trumpeter to master the professional performance of both academic and pop-jazz works. The classification of techniques and skills laying the foundation for broad specialization and professional experience of a trumpeter is proposed. The characteristic of the technological component of the universal trumpet skills is provided. Based on the research of scientific explorations and practical achievements of modern trumpeters, a list of the masters is specified, who are the bearers of universal abilities, the names and achievements of these professionals are presented in the article. Background. By analyzing and comparing the researches and publications of some authors, we distinguish the components that can provide the trumpeter with a universal ability to work with academic and pop-jazz material. The education of modern trumpeter specialists is based on the scientific and methodological works of the leading specialists: J. Arban, E. Bolvin, S. Watterman, I. Gishka, K. Gordon, T. Dokschitzer, K. Caruso, G. Clarke, Ch. Colin, D. Muedinov, H. Orvid, J. O’Neill, O. Stepurko, etc. Each author uses his own methods aimed at gaining or developing some particular practical skills of the trumpeter. However, such works are characterized by a clear orientation, which is projected solely on academic or pop-jazz specifics. The works of J. Arban, G. Clarke, T. Dokschitzer are devoted to the development of solely academic features of the performing musician, while S. Watterman, E. Bolvin, J. O’Neill and O. Stepurko take care of the jazz image of their fans. Thus, a completely newest step in the trumpet art would be a creation of a fundamentally new methodological concept in formation of specialists that would be based on production of symbiosis patterns and combination of universal skills in playing the academic and pop-jazz music. Objectives. The purpose of the paper is to distinguish and study the universal performer skills of the trumpeter, which will allow using the experience of a specialist in academic and pop-jazz art work in many various aspects. Methods. The following methods of research have been used in the paper: historical – when reviewing the methods and algorithm of training trumpeters in Ukraine and in the world; comparative – when analyzing and comparing the well-known theoretical works on the method of teaching playing the trumpet; empirical – when analyzing the thoughts expressed by prominent performing trumpeters and educators having the universal capabilities of academic and pop-jazz performances; inductive and deductive – when studying the issue on acquiring universal performance skills that will expand the specialization of the trumpeter and promote mastering the skill of performing academic and pop-jazz works. Results. At the beginning of the paper, we have considered the concepts of universal skills and performances of trumpeters. The achievements of the most prominent performing musicians having the universal capabilities of playing academic and pop-jazz music have been distinguished. The main part of the paper studies the process of acquiring universal skills by the trumpeter, which is defined as: 1) experience, and 2) technology. In our opinion, the basis of professional experience of the trumpeter’s universal art is: a) fluency in traditional and non-traditional techniques of playing the trumpet; b) practicing the different styles of music and performance; c) experience in improvisation and arrangement. The final part of the paper provides a list of universal skills of the trumpeter: a) the endurance of the lips muscles; b) the knowledge of the articulation and fingering combination theory; c) the use of high-tone sound focus and epithelium muscles flexibility control; d) the manipulation of the sound tone; e) the technique of playing the extreme limits of the range; e) the skill of long-term playing in the extreme limits of the high pitch sound-dynamic zone. Conclusions. Musicians-trumpeters, working in a narrow specialization, understand well that the level of performance technology has grown so fast in the recent years that performers should seek alternative methods to master it. Nowadays, the trumpet performing art needs new ideas for its improvement and development. Therefore, when educators-trumpeters base their school on the narrow specialization skills, i.e. performance in academic or pop-jazz manner, the music industry lacks valuable professionals. Thus, we have outlined the need to expand the mastering of the trumpeter’s special skills, which will allow performers acquiring a wide range of skills, achieving mastery and showing themselves in a wide range of orchestral and ensemble groups. The universal skills, considered herein, should be recommended for the trumpeters to introduce into their own system of personal training. Skilfully mastering them, the trumpeter will open the world of new performance opportunities.
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Rumsey, Hannah E., Sahil Aggarwal, Erin M. Hobson, Jeeyn Park, and Peter Pidcoe. "Anxiety’s Effect on Muscle Activation and Fatigue in Trumpet Players: A Pilot Study." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 203–10. http://dx.doi.org/10.21091/mppa.2015.4038.

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Due to the high percentage of musicians who suffer from musculoskeletal disorders, there is a need for more research in the field of music and medicine. The purpose of this study was to analyze the possible relationship between anxiety, muscle activation, and muscle fatigue in undergraduate trumpet players. Assessment tools included surface electromyography (sEMG) data, State Trait Anxiety Inventory (STAI), and Visual Analogue Scales (VAS) of perceived anxiety. Data were collected from 27 undergraduate music students across five universities (22 males, 5 females) aged 18 to 24 years. The three muscles targeted by the sEMG were the upper trapezius, sternocleidomastoid, and masseter muscles. Participants were randomly divided into two single-blinded groups: (1) anxiety-induction and (2) control. The anxiety-induction group was instructed to play as accurately as possible and informed that mistakes were being counted and evaluated, while the control group was instructed to play without any concern for possible mistakes. The anxiety-induction group was shown to have more masseter muscle activation than the control; the anxiety-induction group also displayed a higher fatigue rate in all three muscles versus the controls. Subjects with high perceived- anxiety (as measured by VAS) displayed higher masseter activation and higher fatigue rates in the upper trapezius and sternocleidomastoid than non-anxious participants. Despite these notable trends, there was no statistical significance for any of the muscle groups for muscle activation or fatigue.
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Lien, Joelle L., and Jere T. Humphreys. "Relationships among Selected Variables in the South Dakota All-State Band Auditions." Journal of Research in Music Education 49, no. 2 (July 2001): 146–55. http://dx.doi.org/10.2307/3345866.

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The purpose of this study was to examine the effects of school enrollment, distance to audition site, sex of auditionees, and instrument type on the results of the 1992–97 South Dakota all-state band auditions. Results include the following: (1) total audition scores were better for students from larger schools and for those who traveled a shorter distance to the audition; (2) female students' scores were significantly better than those of male students, but there was no significant difference in the percentages of successful auditions between males and females; (3) scores differed significantly between instrument groups, with flutes and double reeds receiving the best scores, followed by saxophones, trumpets and French horns, low brass and string basses, and clarinets; and (4) the variables of distance to audition site, instrument group, and sex accounted for 11% of the variance in total audition scores.
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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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Gumelar, Aji Cahya, Fatihah Ekawati, Fitriani Intan Purnamasari, and Zharra Cynthia Dewi. "Ondel-Ondel Local Content Curriculum as A Vocational School of Betawi Cultural Preservation." Edunesia : Jurnal Ilmiah Pendidikan 2, no. 3 (July 6, 2021): 607–18. http://dx.doi.org/10.51276/edu.v2i3.150.

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The research objective was to implement the learning process ondel-ondel arts in local content in the form of music, dance, and fine art compositions at the Vocational High School level as an effort to preserve Betawi culture. This research was conducted using a qualitative approach with interview techniques, observation, literature study, and triangulation techniques. Music composition for ondel-ondel art only relies on the trumpet as an instrument that plays a melody or song. The song that was played was limited to only 2 songs, namely Leles and Mangle. Ondel-ondel art in terms of visual art, students are able to make ondel-ondel masks using recycled materials, besides that in terms of the ondel-ondel art dance uses free movements that can be pulled by students at a show using several musical instruments that are still maintained until now. The implementation of local content in schools provides provisions for knowledge, skills, behavioral orders and student behavior, in the form of insight into environmental conditions and local wisdom
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Diettrich, Brian. "A Sea of Voices: Performance, Relations, and Belonging in Saltwater Places." Yearbook for Traditional Music 50 (2018): 41–70. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0041.

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A faint early morning glow lit the horizon across the sea. Poised on the calm ocean waters, a dozen sails began their approach to shore (see Figure 1). It was just before dawn on Sunday, 22 May 2016, at Paseo de Susana Park in Hagåtña, the capital of the island of Guam (Guåhån). That morning I joined thousands of residents and international visitors for the dawn arrival of the canoes, an event that began the 12thFestival of Pacific Arts, held on the island. Some of the sea vessels were from Guam, while others had travelled north across the familiar ocean routes of the Caroline Islands from as far west as the islands of Palau and from the atoll islands of Lamotrek and Polowat (see Figure 2). The dawn event emphasized Indigenous movement, knowledge, and skill on the sea, but it also projected a means of belonging in and reconnecting to the maritime world, embodied through sounding voices and moving bodies. Cultural leader Leonard Iriarte, who holds the title of Master of Chamorro Chant, recited a welcome that was played over loudspeakers and emanated from the shore out across the incoming waves. As each sailing canoe approached the land, crewmembers sounded shell trumpets and broke out into spontaneous song and dance on the decks—rhythms that combined with those of the incoming swell below.
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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 (August 30, 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 musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.
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Kopiez, Reinhard. "Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation." Music Perception 20, no. 4 (2003): 383–410. http://dx.doi.org/10.1525/mp.2003.20.4.383.

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This study examines the deviation in the intonation of simultaneously sounding tones under the condition of an embedded melody task. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a four-part audio example, while listening via headphones to the remaining three parts in adaptive five-limit just intonation and equal temperament. The experimental paradigm was that of a controlled varied condition with a 2 (tuning systems) ×× 5 (interval categories) ×× 5 (renditions) ×× 2 (players) factorial design. An analysis of variance showed a nonsignificant difference between the average deviation of harmonic intonation in the two systems used. Mean deviations of 4.9 cents (SD = 6.5 cents) in the equal-temperament condition and of 6.7 cents (SD = 8.1 cents) in the just-intonation condition were found. Thus, we assume that the musicians employed the same intonation for equaltemperament and just-intonation versions (an unconscious "always the same" strategy) and could not successfully adapt their performances to the just-intonation tuning system. Fewer deviations could be observed in the equal-temperament condition. This overall tendency can be interpreted as a "burn in" effect and is probably the consequence of longterm intonation practice with equal-temperament. Finally, a theoretical model of intonation is developed by use of factor analysis. Four factors that determine intonation patterns were revealed: the "major third factor," the "minor third and partials factor," the "instrumental tuning factor," and the "octave-minor seventh factor." To summarize, even in expert musicians, intonation is not determined by abstract tuning systems but is the result of an interaction among compositional features, the acoustics of the particular musical instrument, and deviation patterns in specific intervals.
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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 (January 2004): 78–80. http://dx.doi.org/10.1017/s0040298204300069.

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Rosen, Jerome, Hans Werner Henze, Joji Yuasa, Edward Cowie, and David Maslanka. "Le Miracle de la rose: imaginares Theater II; Musik fur einen Klarinettisten und 13 Spieler [Flute, Oboe, Bassoon, Horn, Trumpet, Trombone, Percussion, Piano and Celesta, 2 Violins, Viola, Cello, Bass] (1981)." Notes 42, no. 3 (March 1986): 647. http://dx.doi.org/10.2307/897357.

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Dissertations / Theses on the topic "Trumpet music (2 trumpets)"

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Wetzel, Pierson A. "The pedagogical benefits of duet playing a Vannetelbosch companion /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180034244.

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McIntire, David D. Rudy Paul. "Karlheinz? Wohin gingen Sie? [electronic resource] /." Diss., UMK access, 2009.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.
For two trumpets and chamber ensemble with electronic sounds. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 04, 2009. Includes performances notes. Online version of the print edition.
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Wood, James J. "A Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the Two Trumpet Parts." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3593.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Mar. 22, 1999, Nov. 29, 1999, and Sept. 11, 2006. Includes bibliographical references (p. 52-53).
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Duke, Evan Benjamin. "LANGUAGE AS A PERFORMANCE PARAMETER: THE MARCEL BITSCH VINGT ETUDES." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/2.

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The Bitsch Vingt Études are a significant part of the trumpet performers repertoire. They are taught in many university trumpet studios across the United States. David Baldwin, professor of trumpet at the University of Minnesota, has recorded all of them for the International Trumpet Guild. The editor, Raymond Sabarich, is considered the founder of the modern French school of trumpet playing. Articulation is a significant component in performing on a brass instrument. By varying the attacks of the tongue, different timbres can be successfully achieved on the trumpet. Because of the volume the trumpet can generate, any defective articulation will be more noticeable. Articulation is for the brass player what consonants are for the singer—successful execution is imperative or a lack of clarity results. One major problem in teaching the Bitsch etudes is the lack of attention paid to French pronunciation. The musical ideas in these etudes (melodies, articulation, phrasing, etc.) were conceived by a Frenchman. While fluency in French is not a prerequisite for successful performance of these works, understanding the basics of French pronunciation and how they influence French articulation is essential. In order to properly perform the Marcel Bitsch Vingt Études, the trumpeter needs to modify his or her tonguing in accordance with the rules of French pronunciation. The different components of articulation will be discussed, after which the impact of language in recorded performance will be examined. Finally, selected compositions from the Marcel Bitsch Vingt Études will be analyzed, with recommendations for articulation being given for each work.
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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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

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Hanson, Frank E. "Trumpet timbre : a comparative investigation of the tone quality of two professional C trumpets /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588249822482.

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

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).
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Davis, Whitney Rose. "Bb and C Rotary Trumpets in Orchestras of the United States: Perspectives from Professional Orchestral Trumpet Players on the Use, Audition Considerations, and Current Makes/Models." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587634757776806.

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Parish, Tracy M. "A performance interpretation of the concerto in E-flat major by Joseph Haydn based on contemporaneous writings and period performance practice /." 2008. http://proquest.umi.com/pqdweb?index=0&did=1686371681&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1271698041&clientId=36305.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008.
Includes abstract. Vita. Adviser: John Hill. Includes bibliographical references. Available from Pro Quest Information and Learning.
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Books on the topic "Trumpet music (2 trumpets)"

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Erb, Donald. Remembrances: For two trumpets. Bryn Mawr, Pa: Merion Music, 1996.

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Persichetti, Vincent. Parable: For two trumpets : (Parable XXV) op. 164. Bryn Mawr, Pa: Elkan-Vogel, 1991.

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Nelhybel, Vaclav. Duets for trumpets or any two equal brass or woodwind instruments in treble clef. [United States]: J. Christopher Music, 2000.

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Luening, Otto. Divertimento for brass quintet: Two trumpets, horn, trombone, and tuba. New York: C.F. Peters, 1992.

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Pinkham, Daniel. Morning music: For organ and brass quintet. Boston, Mass: Ione Press, 1996.

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Schickele, Peter. A little mosey music: Rag for brass sextet (2 B♭ trumpets, 2 F horns, trombone, and tuba). Bryn Mawr, Pa: Elkan-Vogel, 1990.

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Adolphe, Bruce. Triskelion: Brass quintet (1990). Saint Louis, Mo: MMB Music, 1991.

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Ryden, William. The wedding album: For two trumpets, horn, trombone, and bass trombone or tuba. Boca Raton, Fla: Masters Music Publications, 1999.

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Charles, Ives. The unanswered question: For trumpet, flute quartet, and strings. New York: Peer International, 1985.

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Schickele, Peter. Variations on a joke: For brass quintet (solo F Horn, 2 B♭ trumpets, trombone, tuba). Bryn Mawr, Pa: Elkan-Vogel, 1996.

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Book chapters on the topic "Trumpet music (2 trumpets)"

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Howard, Keith. "Instruments of the People." In Songs for "Great Leaders", 43–68. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0003.

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Chapter 2 is the first of two chapters that outline and analyze the development of North Korea’s kaeryang akki—“improved” or “reformed” versions of traditional musical instruments. It identifies formational influences from the Soviet Union, China, and elsewhere. The underlying ideology, which holds that Korean instruments should match Western counterparts, but that Western instruments must be subservient to the Korean soundworld, is critiqued. Key musicians and institutions, and music pedagogy are introduced. Data from published resources is matched to the author’s detailed work with key performers in Pyongyang, interviews with musicologists, and evidence gleaned from notations and recordings. The core of the chapter explores wind instruments, looking in detail at the shawm (chang saenap), flutes (chŏdae, tanso), oboes (p’iri), trumpets and conch shells (ragak, rabal), and the accordion (sŏnp’unggŭm).
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Campos, Frank Gabriel. "Jazz Trumpet." In Teaching School Jazz, 163–72. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0015.

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Ensembles of all kinds call upon the trumpets for excitement and fireworks. The strength and quality of the trumpet section is a top concern for any jazz, show, salsa, and commercial music ensemble. A gifted lead or solo trumpeter is a jewel of any group, and a strong trumpet section can elevate a band to greatness. The first part of this chapter provides an overview of the physical and musical challenges that jazz trumpeters face, and offers solutions to some of the most common problems, including exercises that improve range, endurance, and sound. The second part of the chapter discusses time feel, the jazz trumpet sound, and jazz articulation and phrasing. The final portion of the chapter covers the lead player, the jazz player, playing in a trumpet section, equipment choices, using mutes, and the flugelhorn.
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