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

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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 (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 tec

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2

Suwantada, Patcharee, and Joseph Bowman. "Guidelines for creation of a Luk Thung method for trumpet." Malaysian Journal of Music 11, no. 1 (2022): 145–63. http://dx.doi.org/10.37134/mjm.vol11.1.9.2022.

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21st century trumpet players are required to play many diverse styles of music. One of these unique musical styles, Luk Thung (a Thai traditional music style) is music derived from Thai folk music culture that describes the Thai rural lifestyle, especially in the lyrics. Learning this style is a crucial part of a trumpet player’s chances for career success in Thailand’s musical industry. For trumpet players, performing Luk Thung music requires fundamental trumpet techniques. Because of the need for training trumpet players in this unique Thai musical style, this research aims to generate the g

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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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Muzaqi, Moh Afit, and Eko Raharjo. "Music Creativity In The Brascong Vijaya Kusuma Keroncong." Jurnal Seni Musik 11, no. 2 (2022): 161–73. http://dx.doi.org/10.15294/jsm.v11i2.64235.

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Creativity in music can be formed by observing, studying, and understanding existing creative works or creating new music. In the city of Salatiga, there is a keroncong orchestra called "Brascong Vijaya Kusuma." This study aimed to determine, analyze, and describe the musical creativity in the brascong keroncong orchestra Vijaya Kusuma in Salatiga. The method used in this study is a qualitative research method that presents a descriptive analysis. This research approach uses musicology. The results of this study indicated that creativity in brascong keroncong Orchestra Vijaya Kusuma transpired

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Steele-Perkins, Crispian. "Review: Russell Gilmour, 'Just' Natural Trumpet (Russell Gilmour, 2024.). 268pp. ISBN: 978-1-73-971592-2." Early Music Performance & Research, no. 54 (March 7, 2025): 43–5. https://doi.org/10.5281/zenodo.14991098.

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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 (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

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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 (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 significant

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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.

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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai

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Nabilunnuha, Mantaaba Zukhruf, Sunarto Sunarto, Syahrul Syah Sinaga, and Wahyu Lestari. "Innovative music learning in “Profil Pelajar Pancasila” development for students: an intervention study through world wall applications." International Journal of Visual and Performing Arts 4, no. 2 (2022): 174–84. http://dx.doi.org/10.31763/viperarts.v4i2.823.

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The importance of art education in instilling the principles of Pancasila that should be taught to pupils has diminished since the era of technological transformation. Learning the names of the Pancasila principles through music is a powerful tool. However, pupils lose interest in the process when learning is still presented in the traditional fashion. Student's strengths in global variety, mutual cooperation, independence, critical reasoning, and creativity can be cultivated through this music-learning process and included in their Pancasila student profiles. As a result, changes in music edu

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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 (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

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11

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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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

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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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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 nonsignif

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Setiarini, Agnes Tika. "Scat Singing Learning Method in Jazz Vocals for Vocal Students of Music Presentation Institut Seni Indonesia Yogyakarta." Grenek Music Journal 12, no. 1 (2023): 110. http://dx.doi.org/10.24114/grenek.v12i1.39747.

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Scat singing is the designation of vocal improvisation techniques in jazz music. This form of vocal improvisation was first popularized by Louis Armstrong in 1962. Scat singing is often learned by imitating improvised musical instruments into vocals, such as saxophones, trumpets, guitars, or pianos. Popjazz vocal students of the ISI Yogyakarta Music Presentation study program began to be introduced and learned scat singing from semester 2 to semester 6. Only a few students successfully apply this vocal improvisation technique when singing in performances and jam sessions. The author as a lectu

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16

Campbell, Murray, Arnold Myers, and Michael Newton. "Acoustical behaviour of “baroque” trumpets with vent holes." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A108—A109. http://dx.doi.org/10.1121/10.0026976.

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The trumpets for which baroque composers including Bach and Handel wrote viruoso solo parts were natural (valveless) instruments approximately twice the length of a modern C trumpet. Playing chromatically in the high register of a natural trumpet requires great skill, since only the approximately harmonic resonances of the fixed-length air column are available. In the second half of the twentieth century several makers collaborated with performers to develop variants of the natural trumpet incorporating three or four finger-holes. Such instruments, widely used in modern ensembles playing baroq

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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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18

Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.

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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without an

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19

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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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 (1986): 647. http://dx.doi.org/10.2307/897357.

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21

Thibodeau, Joseph, and Marcelo M. Wanderley. "Trumpet Augmentation and Technological Symbiosis." Computer Music Journal 37, no. 3 (2013): 12–25. http://dx.doi.org/10.1162/comj_a_00185.

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This article discusses the augmentation of acoustic musical instruments, with a focus on trumpet augmentation. Augmented instruments are acoustic instruments onto which sensors have been mounted in order to provide extra sonic control variables. Trumpets make ideal candidates for augmentation because they have spare physical space on which to mount electronics and spare performer “bandwidth” with which to interact with the augmentations. In this article, underlying concepts of augmented instrument design are discussed along with a review and discussion of twelve existing augmented trumpets and

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22

Mayhood, Erin. "Invenzione Concertata for Brass Quintet, and: Keep On Keepin' On [for] Brass Quintet, and: Fanfare for Brass Quintet, and: Entertainment-Sets (Chamber Music X) for Brass Quintet, and: Hymn for Brass: pour quintette de cuivres, and: Fanfare for 2 Trumpets, 2 Horns, and Trombone (review)." Notes 61, no. 3 (2005): 870–74. http://dx.doi.org/10.1353/not.2005.0024.

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Kaminski, Joseph S. "Surrogate Speech of the Asante Ivory Trumpeters of Ghana." Yearbook for Traditional Music 40 (2008): 117–35. http://dx.doi.org/10.1017/s0740155800012133.

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Surrogate speech is a phonological system by which word tones of a spoken language are represented in tones produced on a musical instrument. Ethnomusicologists regard this as a musical process. This article analyses the surrogate speech system of the Asante ivory trumpeters who perform at the royal courts of Ghana. The language of the Asante is Twi, which is tonal, based on two tones, high and low. The tones produced on the Asante's ivory trumpets outline the speech contours of the high and low spoken tones of Twi. The trumpet surrogate speech thus substitutes for spoken verse during rites wh

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Nunns, Richard, and Allan Thomas. "The Search for the Sound of the Putorino: “Me Te Waie Utuutu Ana”." Yearbook for Traditional Music 37 (2005): 69–79. http://dx.doi.org/10.1017/s0740155800011231.

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The noted New Zealand Maori authority Te Rangi Hiroa declared that the rich heritage of traditional instruments was now silent, they were no longer played, they would be ‘forever mute'(Buck 1949:270). Among the predominant flutes and trumpets of this instrumentarium were voice modifiers (jews harp, mouth bow), whizzers and whirlers, and percussion (rattlers, castanets, gong, and other ‘found’ instruments). Most enigmatic of all was the pūtωrino, the so-called bugle-flute, perhaps unique in the world's instruments, a combination of three instruments—flute, trumpet and voice modifier. A descript

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Carlson, Marvin. "Twice Have the Trumpets Sounded." Recherches sémiotiques 35, no. 2-3 (2018): 115–29. http://dx.doi.org/10.7202/1051071ar.

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Probably no single aspect of the semiotics of performance is more critical than the conventionalized signals that inform the audience that they are entering or leaving the liminal world of performance, and that the signs they will receive between these two signals are to be interpreted not necessarily as they would be in everyday life, but according to the codes of the performance situation. A clear example of one familiar modern sign for the ending of the performance is, of course, the curtain call. Throughout the history of theatre, the ending of the performance has most commonly been signal

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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.

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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and pe

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Camacho, Macario, Justin M. Wei, Lauren K. Reckley, and Sungjin A. Song. "Double Barrel Nasal Trumpets to Prevent Upper Airway Obstruction after Nasal and Non-Nasal Surgery." Anesthesiology Research and Practice 2018 (2018): 1–6. http://dx.doi.org/10.1155/2018/8567516.

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Objectives. During anesthesia emergence, patients are extubated and the upper airway can become vulnerable to obstruction. Nasal trumpets can help prevent obstruction. However, we have found no manuscript describing how to place nasal trumpets after nasal surgery (septoplasties or septorhinoplasties), likely because (1) the lack of space with nasal splints in place and (2) surgeons may fear that removing the trumpets could displace the splints. The objective of this manuscript is to describe how to place nasal trumpets even with nasal splints in place. Materials and Methods. The authors descri

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Kendall, Roger A. "The Role of Acoustic Signal Partitions in Listener Categorization of Musical Phrases." Music Perception 4, no. 2 (1986): 185–213. http://dx.doi.org/10.2307/40285360.

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An experiment was designed to assess the relative contribution to listener categorization strategies of various temporal partitions of the acoustic signal for trumpet, clarinet, and violin. The role of context, whole phrase versus single note, was also evaluated. Analog recordings of three folk-song phrases performed on two clarinets, violins, and trumpets were digitized. A computer program was developed for digital signal editing. Signal edit conditions included normal, time-variant steady-state alone, transients alone, and static steady state with and without transients. Musicians and nonmus

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Villanueva, George. "Chitown Loves You." Journal of Popular Music Studies 31, no. 2 (2019): 127–46. http://dx.doi.org/10.1525/jpms.2019.312011.

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Donald Trump’s 2016 presidential campaign rhetoric about violence in Chicago spatialized a narrative that branded the city as the poster child of urban disarray. His bombast lacked any contextual understanding of the issue and offered no productive pathways for collective solutions. Alternatively, I argue in this paper that a rising collection of Chicago hip hop artists were producing musical discourses in 2016 that not only challenged Trump’s negative rants, but also spatialized a multilayered narrative of the intersections between hip hop and activism in the city. Through textual analysis of

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Mohamed, Mimoun, Vincent Fréour, Christophe Vergez, Keita Arimoto, Valentin Emiya, and Bruno Cochelin. "Prediction of trumpet performance descriptors using machine learning." Acta Acustica 8 (2024): 65. http://dx.doi.org/10.1051/aacus/2024042.

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Based on a physical model of a trumpet’s functioning, the numerical continuation approach is used to construct the model’s bifurcation diagram, which depends on the instrument’s acoustic characteristics and the musician’s parameters. In this article, we first identify 10 descriptors that account for the main characteristics of each bifurcation diagram. It is first shown that these descriptors can be used to classify four professional trumpets with a recognition rate close to 100%. The XGBoost algorithm is used for this purpose. Secondly, we evaluate the ability of different classical machine l

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Blewett, Devon John, and David Gerhard. "Brass Haptics: Comparing Virtual and Physical Trumpets in Extended Realities." Arts 12, no. 4 (2023): 145. http://dx.doi.org/10.3390/arts12040145.

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Despite the benefits of learning an instrument, many students drop out early because it can be frustrating for the student, expensive for the caregiver, and loud for the household. Virtual Reality (VR) and Extended Reality (XR) offer the potential to address these challenges by simulating multiple instruments in an engaging and motivating environment through headphones. To assess the potential for commercial VR to augment musical experiences, we used standard VR implementation processes to design four virtual trumpet interfaces: camera-tracking with tracked register selection (two ways), camer

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Charleson, Bill. "Woodwind tutors - Blue Flute, Blue Clarinet, Blue Saxophone, Blue Trumpet by James Rae. Universal Education, 1993. £4.95 each. - Improvise Microjazz for Alto Saxophone and Piano by Christopher Norton. Boosey & Hawkes, 1993. £4.95. - Clarinet Folk-weave by Gordon Lewin. Associated Board of the Royal Schools of Music (Publishing) Ltd., 1993. £2.50. - The Flautist's Collection, Books 1, 2 & 3, selected and edited by Paul Edmund-Davies. Kevin Mayhew Ltd., 1993. £7.50." British Journal of Music Education 11, no. 2 (1994): 174–76. http://dx.doi.org/10.1017/s0265051700001133.

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Nasution, Daniel Raja Namora, and Herna Hirza. "PEMBUATAN KARYA MUSIK DIGITAL MENGGUNAKAN APLIKASI SIBELIUS 7 DI GRUP BAND INTHESKY." Jurnal Sitakara 10, no. 1 (2025): 31–38. https://doi.org/10.31851/sitakara.v10i1.16717.

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Penelitian bertujuan untuk mendeskripsikan: Proses Pembuatan Notasi Musik Digital Grup Band Inthesky Dengan Menggunakan Aplikasi Sibelius 7. Masalah dalam penelitian difokuskan pada proses pembuatan. Untuk menyelesaikan masalah dalam penelitian ini digunakan teori proses. Metode penelitian yang digunakan dalam penelitian ini adalah metode penelitian deskriptif kualitatif. Data-data dikumpulkan melalui observasi, wawancara, dokumentasi dan kerja laboratorium dan dianalisis secara mendalam dan detail sesuai dengan teori yang digunakan. Kajian ini menyimpulkan bahwa proses pembuatan karya musik d

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Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.

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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author

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Kaiser, Jeff. "Improvising Technology: Constructing Virtuosity." Cuadernos de Música, Artes Visuales y Artes Escénicas 13, no. 2 (2018): 87–96. http://dx.doi.org/10.11144/javeriana.mavae13-2.itcv.

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In this paper, I explore how contemporary musicians using electronic technologies in improvised music conceptualize skill and virtuosity in their musical practices. This includes ideas about the role and agency of technology, learned and repeatable physical skill, skill acquisition, skill transmission, and the projection of learned skill from traditional instruments onto new instruments. The musicians’ use of idiosyncratic and individually constructed instruments—instruments with little or no history of a performance practice—makes this field a rich resource to examine how such conceptions are

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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants,

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Bohatyriov, Volodymyr. "The strategy of historically oriented orchestration of M. Verbytskyi’s play “Pidhiriany”." Aspects of Historical Musicology 35, no. 35 (2024): 9–29. http://dx.doi.org/10.34064/khnum2-35.01.

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Statement of the problem. The historical circumstances that influenced Ukrainian culture throughout the XIX–XX centuries have given rise to the contemporary challenge of accessing musical scores, particularly original scores or orchestral voices of music theatrical works and orchestral compositions. Even the presence of copies of piano arrangements, individual instrumental parts, or segments of complete scores in private or state archives does not afford a comprehensive evaluation of the creative output of Ukrainian composers from the past nor enable its broad presentation to the public. This

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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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Vilkner, Nicole. "The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche." Cambridge Opera Journal 32, no. 1 (2020): 90–114. http://dx.doi.org/10.1017/s0954586720000130.

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AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of

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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.

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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural pos

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Son, Ha Young. "요한계시록의 나팔 심판 시리즈에서의 출애굽 모티프 사용 패턴 연구 (2) : 남은 세 나팔 심판". ACTS Theological Journal 48 (30 липня 2021): 60–96. http://dx.doi.org/10.19114/atj.48.2.

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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art

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Popova, Liudmyla, and Olha Protsenko. "Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects." Aspects of Historical Musicology 19, no. 19 (2020): 65–79. http://dx.doi.org/10.34064/khnum2-19.04.

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Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for hi

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Walter-Mazur, Magdalena Katarzyna. "Zapominany instrument, zapomniana praktyka. Tromba marina w klasztornym muzykowaniu w XVIII wieku." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (2017): 39. http://dx.doi.org/10.17951/l.2017.15.1.39.

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<em>Tromba marina</em>, instrument wywodzący się z monochordu, znany od czasów średniowiecza, podobnie jak wiele innych, nie znalazł swojego trwałego miejsca w muzyce profesjonalnej. W niniejszym artykule zwraca się uwagę na pewien „epizod”, który stał się udziałem tego specyficznego chordofonu, a któremu z literaturze muzykologicznej nie poświęcono dostatecznej uwagi.<p>Instrument ten miał swoje pięć minut w muzyce francuskiej około połowy XVII wieku. W 1660 Lully wykorzystał <em>trombae marinae</em> w w ustepach baletowych opery Cavallego <em>Xerxes</em

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Triprasetyo, Hengki. "MUSIK ODROT DI KABUPATEN PONOROGO." SELONDING 11, no. 11 (2019). http://dx.doi.org/10.24821/selonding.v11i11.2964.

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Odrot music is the art of music featured in Ponorogo, existing end centuries of Dutch colonialism in Indonesia, but its development was started in 1958. From then on stand several music groups Odrot, but that survive today are a group of music Odrot Kelana Ria. Although there are other groups who also manages Music Odrot, but the players invited players in Kelana group Ria. Music Odrot is a musical ensemble consisting of instruments trumpet, Euphonium 1, Euphonium 2, flugel, sousaphone (which by the player music Odrot called a piston, tenor 1, tenor 2, kaltu, bass), drums, kendang ciblon, keti

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Firle, Carl, Anke Steinmetz, Oliver Stier, Dirk Stengel, and Axel Ekkernkamp. "Aerosol emission from playing wind instruments and related COVID-19 infection risk during music performance." Scientific Reports 12, no. 1 (2022). http://dx.doi.org/10.1038/s41598-022-12529-2.

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AbstractThe pandemic of COVID-19 led to restrictions in all kinds of music activities. Airborne transmission of SARS-CoV-2 requires risk assessment of wind instrument playing in various situations. Previous studies focused on short-range transmission, whereas long-range transmission risk has not been assessed. The latter requires knowledge of aerosol emission rates from wind instrument playing. We measured aerosol concentrations in a hermetically closed chamber of 20 m3 in an operating theatre as resulting from 20 min standardized wind instrument playing (19 flute, 11 oboe, 1 clarinet, 1 trump

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Choi, Uk-Su, Yul-Wan Sung, and Seiji Ogawa. "Brain Plasticity Reflects Specialized Cognitive Development Induced by Musical Training." Cerebral Cortex Communications 2, no. 2 (2021). http://dx.doi.org/10.1093/texcom/tgab037.

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Abstract Learning a musical instrument requires a long period of training and might induce structural and functional changes in the brain. Previous studies have shown brain plasticity resulting from training with a musical instrument. However, these studies did not distinguish the effects on brain plasticity of specific musical instruments as they examined the brain of musicians who had learned a single musical instrument/genre and did not control for confounding factors, such as common or interactive effects involved in music training. To address this research gap, the present work investigat

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Steenstrup, Kristian, Niels Trusbak Haumann, Boris Kleber, Carles Camarasa, Peter Vuust, and Bjørn Petersen. "Imagine, Sing, Play- Combined Mental, Vocal and Physical Practice Improves Musical Performance." Frontiers in Psychology 12 (October 25, 2021). http://dx.doi.org/10.3389/fpsyg.2021.757052.

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Classical musicians face a high demand for flawless and expressive performance, leading to highly intensified practice activity. Whereas the advantage of using mental strategies is well documented in sports research, few studies have explored the efficacy of mental imagery and overt singing on musical instrumental learning. In this study, 50 classically trained trumpet students performed short unfamiliar pieces. Performances were recorded before and after applying four prescribed practice strategies which were (1) physical practice, (2) mental imagery, (3) overt singing with optional use of so

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Pace, D. S., C. Lanfredi, S. Airoldi, et al. "Trumpet sounds emitted by male sperm whales in the Mediterranean Sea." Scientific Reports 11, no. 1 (2021). http://dx.doi.org/10.1038/s41598-021-84126-8.

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AbstractSperm whale trumpets are sounds only occasionally documented, with a well recognisable and stereotyped acoustic arrangement. This study investigated the acoustic features of the trumpets and the context in which these sounds were recorded, using acoustic data collected over 22 years, in the Pelagos Sanctuary area (North-Western Mediterranean Sea). Analysed trumpets (n = 230), recorded at the beginning of a dive after the whale fluke-up, comprised a series of acoustic units organized in short sequences. Acoustic parameters were derived for the entire trumpet and for each distinguishable

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Pieter Koster. "George Lloyd - Music for Brass, from symphony to test-piece." Royal Conservatoire Research Portal, no. 1 (September 11, 2017). http://dx.doi.org/10.22501/koncon.63714.

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Name: Pieter Koster Main Subject: Wind band Conducting Research Supervisor: Paul Scheepers Title of Research: George Lloyd – Music for brass, from symphony to test-piece Research Questions: 1. Did George Lloyd change his way of composing from Symphony no. 10 via Royal Parks to Diversions on a Bass Theme? a. In what way does George Lloyd treat the following compositional elements in each piece? i. Structure ii.Harmony iii.Thematic material iv. Musical Tension b. In what way does the treatment of these elements differ in each piece? 2. Did George Lloyd succeed in combining his own views with the

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