Relevant bibliographies by topics / Trumpet players

Contents

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

Academic literature on the topic 'Trumpet players'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Trumpet players"

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Potter, Nancy L., Lauren R. Johnson, Stephen E. Johnson, and Mark VanDam. "Facial and Lingual Strength and Endurance in Skilled Trumpet Players." Medical Problems of Performing Artists 30, no. 2 (June 1, 2015): 90–95. http://dx.doi.org/10.21091/mppa.2015.2015.

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Trumpet players produce and manipulate sound through their instrument by articulating the lips, cheeks, and tongue to create a proper airflow. These sustained muscle contractions may result in increased facial and lingual strength and endurance. The purpose of this study was to determine if adult trumpet players who practice at least 6 hrs/wk differed from adult non-trumpet-playing controls in strength and endurance of the lips, cheeks, and tongue. Methods: This case-control study involved 16 trumpet players, 16 healthy controls balanced for age and sex, and 1 trumpet player 25 years post-Bell’s palsy. Strength and endurance of lip, cheek, and tongue muscles were measured using the Iowa Oral Performance Instrument (IOPI Medical, Redmond, WA). Maximum strength was the greatest pressure value of three encouraged trials. Endurance was the length of time the participant was able to sustain 50% of maximum strength. Results: The findings indicate that trumpet players had greater facial strength and endurance, which was objectively quantified using commercially available equipment. The trumpet players had greater cheek strength and greater lip endurance than controls. Tongue strength and endurance did not differ between the trumpet players and controls. Tongue strength was negatively associated with age, which is consistent with previous studies. The trumpet player with a history of Bell’s palsy had decreased cheek strength and endurance on his affected side compared to his unaffected side, although this difference was comparable to the differences between right and left cheek strength in trumpet players without a history of facial nerve damage.
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Suwantada, Patcharee, and Joseph Bowman. "Guidelines for creation of a Luk Thung method for trumpet." Malaysian Journal of Music 11, no. 1 (December 31, 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 guidelines for a trumpet method design based on Luk Thung music through the study of three categories: (1) fundamental trumpet techniques appearing in Thai Luk Thung music; (2) comparison of fundamental technique approaches between Western pedagogical methods for trumpet and Luk Thung music; and (3) the possibility of using Thai Luk Thung music to develop fundamental trumpet techniques for trumpet players. The purposeful sampling includes official recordings of Thai Luk Thung songs, four major method books for trumpet and in-depth interviews used for collecting data, and analysis. The findings were discussed and presented as the guidelines to design a trumpet method including purpose of the method design, structure of the method, and scope of contents. The generated guidelines will help trumpet players, music teachers or trumpet educators to design their own trumpet methods based on Thai Luk Thung music that suits their needs.
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Ghoneima, Ahmed, Anthony Imburgia, Stacey Halum, Margot Van Dis, and Katherine Kula. "Three-dimensional airway analysis of trumpet players vs. non-trumpet players." Oral Radiology 31, no. 2 (August 12, 2014): 105–13. http://dx.doi.org/10.1007/s11282-014-0187-z.

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Ghoneima, Ahmed, Anthony Imburgia, H. Zeynep Cilingir, Stacey Halum, Margot Van Dis, and Katherine Kula. "Erratum to: Three-dimensional airway analysis of trumpet players vs. non-trumpet players." Oral Radiology 31, no. 2 (December 13, 2014): 114. http://dx.doi.org/10.1007/s11282-014-0194-0.

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Albert Gargallo, Jordi, and Carles Camarasa Botella. "Practice Management and Injury Prevention in Trumpet Players." International Journal of Health and Music 1, no. 1 (July 15, 2024): 60–70. http://dx.doi.org/10.61629/ijhm.v1i1.43.

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This interview explores the intricate relationship between trumpet playing, practice management, and preventing injuries in performers. The discussion delves into the development of neuro-motor automatisms during practice, emphasizing their impact on biomechanisms and the potential for injuries. The most common injuries in trumpet players, including skin lesions and temporomandibular joint inflammation, and the role of excessive mouthpiece pressure are examined. The importance of efficient habits, teacher guidance, and a holistic mental and physical health approach in trumpet playing is highlighted. Additionally, the interview sheds light on the significance of understanding the unity of body and mind for optimal performance.
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Fiz, José A., J. Aguilar, Ana Carreras, Ana Teixido, Manuel Haro, Daniel O. Rodenstein, and José Morera. "Maximum Respiratory Pressures in Trumpet Players." Chest 104, no. 4 (October 1993): 1203–4. http://dx.doi.org/10.1378/chest.104.4.1203.

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Furuhashi, Hiroko, Toru Chikui, Daisuke Inadomi, Tomoko Shiraishi, and Kazunori Yoshiura. "Fundamental Tongue Motions for Trumpet Playing: A Study Using Cine Magnetic Resonance Imaging (Cine MRI)." Medical Problems of Performing Artists 32, no. 4 (December 1, 2017): 201–8. http://dx.doi.org/10.21091/mppa.2017.4038.

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OBJECTIVE: Though the motions of structures outside the mouth in trumpet performance have been reported, the dynamics of intraoral structures remain unelucidated. This study explored the tongue’s movement in trumpet playing using cine magnetic resonance imaging (cine MRI) and demonstrated the effects of intraoral anatomical structures on changes in pitch and dynamics. METHODS: Cine MRI was applied to 18 trumpet players, who were divided into two groups (7 beginner, 11 advanced) based on their ability to play a certain high note. They were instructed to play a custom-made MRI-compatible simulated trumpet. Pitch-change tasks and dynamics-change tasks were assigned. The positions of the anatomical points and intraoral areas were identified on outlined images, and the changes associated with each task were evaluated. RESULTS: A forward and upward projection of the tongue was observed in the production of higher pitches, and there were no significant differences in all areas. In louder dynamics, a backward and downward bending of the tongue occurred, the tongue area became smaller (p<0.001), and the oral cavity area became larger (p<0.001). No significant differences between beginner and advanced trumpet players were seen in the changes in pitch and dynamics. CONCLUSION: It was demonstrated using cine MRI that certain tongue movements were associated with each task. Tongue protrusion in the production of higher pitch and bending in louder dynamics can be rationalized using acoustics theory and the movements of anatomical structures. These findings seem to be consistent regardless of the player’s proficiency.
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Türk-Espitalier, Alexandra, Matthias Bertsch, and Isabelle Cossette. "Effect of Expiratory Muscle Strength Training on the Performance of Professional Male Trumpet Players." Medical Problems of Performing Artists 39, no. 1 (March 1, 2024): 18–26. http://dx.doi.org/10.21091/mppa.2024.1003.

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BACKGROUND: Many trumpet players use breathing training devices in addition to their daily practice routine. Playing a brass instrument requires, besides many other skills, a controlled air stream to generate the necessary air pressures. On the trumpet, high intraoral pressures are needed, especially during high and loud notes. Therefore, it is not uncommon in trumpet pedagogy to teach that the use of breathing training devices enhances physical strength so that the required pressures can be produced with less effort. However, to date, no systematic assessment of the use of breathing training devices among trumpet players exists and their effect on playing performance is still unclear. METHODS: In this a pre-post, within-subject repeated measure study, we investigated the influence of a 5-week expiratory muscle strength training (EMST) upon trumpet performance. Twenty-four male professional trumpet players were allocated to either a control or intervention group. The intervention group (n =13) trained with an EMST device against a set resistance of 55% of their maximum expiratory pressure (MEP) for 5 weeks on 5 days per week. The control group (n =11) did no intervention. All participants underwent the same measures (MEP and rate of perceived exertion [RPE]) and played the same tasks (maximum long note, maximum high note, maximum dynamics and phrasing in high register) prior to and after the 5 weeks. RESULTS: After EMST, MEP increased significantly (13%, p = 0.049) in the intervention group, whereas no significant change was found in the control group. Performance parameters did not change in either of the groups, also after EMST. Despite the increase in MEP, we found no evidence that EMST has an influence on trumpet performance. CONCLUSION: We conclude that EMST seems unnecessary for the enhancement of trumpet playing, at least in a population of male professionals who already demonstrate excellent respiratory condition and control.
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Doc, J. B., C. Vergez, and J. Hannebicq. "Inverse problem to estimate lips parameters values of outward-striking trumpet model for successive playing registers." Journal of the Acoustical Society of America 153, no. 1 (January 2023): 168–78. http://dx.doi.org/10.1121/10.0016808.

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The objective of this work is to estimate by inverse problem lip parameters values of trumpet model so that the oscillation thresholds for successive playing registers occur for the same blowing pressure as the one measured on several trumpet players. The lips vibration is modeled through an oscillator including unknown parameters such as resonance frequency, quality factor, surface mass, stiffness, and opening at rest of the lips. The oscillation threshold is calculated through linear stability analysis of the outward-striking model including the nonlinear coupling with the bore of the trumpet. It appears that many combinations of parameter values are suitable to obtain the same blowing pressure at threshold as in the experiments. According to the analysis of the possible parameter values, some hypotheses are formulated about the playing strategies used by the trumpeter to select the different registers of the instrument. In addition to the resonance frequency of the lips, controlling the lips opening at rest appears to be a viable strategy to match experimental oscillation thresholds in terms of blowing pressure. Numerical values for the lips parameters are given and through sound synthesis, allow the successive registers of the trumpet to be played.
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Carnovale, Norbert, and Ellen Taaffe Zwilich. "Concerto for Trumpet and Five Players, 1984." Notes 44, no. 4 (June 1988): 832. http://dx.doi.org/10.2307/941062.

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Dissertations / Theses on the topic "Trumpet players"

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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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Bailey, Robert E. (Robert Elwood) 1946. "An Investigation of the Laryngeal Activity of Trumpet Players During the Performance of Selected Exercises." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330597/.

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The study's purpose was to describe selected laryngeal activity of brass-wind players during the performance of selected musical exercises. Research problems included the observation and description of three internal areas of activity of ten trumpeters as they performed each exercise. Specific areas of observation were 1) movement of the epiglottis during the performance of each exercise, 2) movement of the vocal folds/arytenoid cartilage which includes changes in the size of the glottis during the performance of each prescribed exercise, and 3) movement of the thyroid cartilage during the performance of each prescribed exercise. Musical exercises performed by each of the subjects included a sound volume change, use of vibrato, single-tonguing, step-wise descending and ascending slurs, descending and ascending lip slurs, register change, and a descending chromatic scale. In addition, each subject performed an excerpt from the second movement of the Haydn Trumpet Concerto. Data were collected through direct observation of subject performances and then described using three different means. Data analyses revealed a prominent amount of highly individual, non-patterned laryngeal activity which played an integral role in the performance of each subject. Individuals including Law (1960), Cramer (1955), Jacobs (Stewart, 1987), and Noble (1964) have advocated an unrestricted airway during brass performance. Contrary to this advice, findings in the present study indicate that a great deal of varying, involuntary restriction is present in the laryngeal area during performance. Further, such activity appears necessary to brass performance. Others, including Farkas (1962), Schuller (1962), and Wick (1971) , have endorsed conscious use of the glottis during brass performance. While findings in the present study imply that there is a presence of voluntary or reflexive glottal activity during brass performance, evidence does not support any theory which suggests conscious use of the laryngeal mechanism.
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Fincher, Sherri LuAnn. "Lack of U.S. female orchestral trumpet players : gender bias or other factors? /." Full text available from ProQuest UM Digital Dissertations, 2009. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1913314011&SrchMode=1&sid=3&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1278530915&clientId=22256.

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Thesis (D.A.)--University of Mississippi, 2009.
Typescript. Major professor: John Schuesselin Vita. "May 2009." Includes bibliographical references (leaves 27-30). Also available online via ProQuest to authorized users
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George, Miranda. "Reimagining “The Art of Phrasing” by Jean Baptiste Arban: Teaching Musical Style to Modern Day Trumpet Players." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822753/.

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“The Art of Phrasing” is a chapter from Arban’s Complete Celebrated Method for the Cornet (published in 1864) that contains a selection of 150 melodies from Classical and early Romantic works. This section of Arban’s method was necessary for a new generation of cornet and trumpet players to learn melodic phrasing and style. A larger part of the trumpet solo repertoire was written for the clarino register or composed in fanfares due to the limitation of the valveless trumpet. The newly chromatic cornet grew to be a prominent solo instrument in symphonies and wind bands by the mid 19th century, and Arban's “Art of Phrasing” instructed players in musical style. Due to today’s vast number of musical genres, it is unlikely that present day students will be exposed to the melodies of “The Art of Phrasing.” With advancements in music streaming technology and with increased accessibility to countless recordings via the internet, trumpet players are able to access recordings of the melodies. However, there are errors and omissions in the chapter that prevents students from finding recordings with ease. This dissertation presents a new compilation of melodies organized by musical period from medieval to modern day, complete with proper title, composer name, chronological information, genre, and location within the selected work. In order to help students distinguish between musical styles, a brief description of characteristics from each musical period is provided, including information on the function of music in society, performance practice, and compositional trends in rhythm, melody, harmony, and expression.
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Markel, Dean R. "Armando Ghitalla : orchestral trumpeter, soloist, and pedagogue (1925-2001)." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1378141.

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This study documents the performing and teaching career of Armando Ghitalla (1925-2001), and describes his pedagogical approach with an emphasis on understanding his approach to teaching embouchure. It includes as appendices a comprehensive discography of his solo, chamber, and orchestral recordings, a listing of his solo performances with the Boston Symphony Orchestra, a selected list of former students, and copies of his advanced flexibility and transposition studies.The personal interview served as the primary source of data for this study. The subject, Armando Ghitalla, participated in an in-depth interview with the author which was recorded and transcribed. Subsequent data was gathered from former students through the use of an open-ended questionnaire. Follow-up interviews were held with several of the respondents. Previously published articles, interviews, reviews, and an unpublished recording of a trumpet clinic were also consulted.Ghitalla was a member of the Boston Symphony Orchestra for twenty-eight years, serving as solo trumpet of the Boston Pops Orchestra from 1951-1965 and principal trumpet of the Boston Symphony Orchestra from 1965-1979. He was active as a virtuoso trumpet soloist and had a distinguished career as a trumpet professor following his retirement from the Boston Symphony. His success as an orchestral performer, solo performer, and noted pedagogue distinguish him from many of his contemporaries.
School of Music
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Acheson, Liam Stuart. "The Respiratory And Cardiovascular Impacts Of Orchestral Performance On Trumpet Players: An Observational Cohort Study." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21091.

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Trumpet performance places considerable demands on musicians respiratory and cardiovascular systems. Previous studies investigating the effects of brass performance on lung function are contradictory, and there is little data available detailing the cardiopulmonary responses during a performance. The aim of this thesis is to describe cardiopulmonary responses using non-invasive techniques before, during and after a challenging set piece in an elite group of trumpeters as compared to elite non-brass violinists. Fifteen elite trumpeters and 4 elite violinists were studied however one trumpeter was excluded from analysis. The forced oscillation technique, spirometry and systemic blood pressure were measured pre- and post-performance of Hindemith’s Sonata for Trumpet and Piano. Electrocardiogram, pulse oximetry, derived pulse transit time, and transcutaneous carbon dioxide (TCO2) were continuously measured during performance. All lung function measures were within normal limits, did not correlate with playing experience and did not change following the set piece in both groups. Effort-dependant iv peak expiratory flow however was reduced post-performance in the trumpeters. Significant fluctuations in heart rate, pulse transit time and systolic blood pressure were seen during the trumpet performance only and were consistently associated with breath pattern. The above results suggest that trumpet performance at an elite level does not have acute or long-term effects on lung function and gas exchange. Challenging performance however results in respiratory muscle fatigue and significant fluctuations in cardiovascular measures. Specific and consistent performance patterns attribute these observations to the demands and required breath control for trumpet/brass performance without any persistent effect on baseline measures.
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Nevins, Paul Leonard. "Trumpet in transition : a history of the trumpet and its players in the United Kingdom through the music and relationships of Sir Edward Elgar." Thesis, Birmingham City University, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.753299.

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The life and career of Sir Edward Elgar (1857-1934) coincided with a period of significant change in the development of the trumpet and the music scored for it. A professional musician from the provinces, mostly self-taught, Elgar slowly gained recognition and ultimately international fame. In the United Kingdom for most of the nineteenth century the pre-eminence of the slide trumpet, which was not a fully chromatic instrument, made for a unique situation, leaving the ubiquitous cornet to fill the gap when a fully chromatic instrument was required. The valved trumpet, at first in the form of the large F trumpet, only gained a foothold in the last decades of the nineteenth century. This thesis examines the development in the trumpet and cornet scoring of Elgar throughout his career and correlates this with the trumpeters he worked with both in the provinces and in London. This is set in the context of the instruments that were available to, and promoted by, these trumpeters. The analysis leads to an original theory of Elgar being both a reflector and a driver of change in the turbulent world of the trumpet. A review of the trumpet writing of composers contemporary with Elgar from the United Kingdom corroborates this theory. The playing styles of Elgar’s trumpeters are investigated, and the sonic and playing qualities of the instruments explored. These qualities are related to the advocacies of the leading trumpeters and commentators of the time, and are illustrated on the accompanying CD which contains contemporary exercises and excerpts performed by the author on historic instruments with original, or copies of, contemporary mouthpieces. This study, relating the music, circumstances of composition, performers involved and the instruments available presents significant new knowledge of the trumpet world in the late nineteenth and early twentieth centuries. The conclusions challenge certain anecdotes that have been passed from generation to generation concerning trumpeters of Elgar’s generation. I draw attention to evidence suggesting a hitherto little-researched continental influence.
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Dissenha, Fernando Luis. "Os trompetistas e o repertório da Osesp nas temporadas de concerto de 1977 a 1980." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07072017-142440/.

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Os primeiros anos da Orquestra Sinfônica do Estado de São Paulo (Osesp) foram marcados pela instabilidade administrativa, o que impossibilitava, à época, a existência de uma programação de concertos. Com a chegada de Eleazar de Carvalho, em 1973, a Osesp inicia a estruturação de suas temporadas regulares, e uma das iniciativas foi a implementação de ciclos com obras de um mesmo compositor. Em 1977, foi apresentado o ciclo Beethoven, seguido de outros que deram destaque a Schubert, Tchaikovsky, Brahms, Wagner, culminando, em 1980, com o ciclo de obras de Gustav Mahler. A pesquisa documental nos arquivos da orquestra revelou também que houve mudanças no conteúdo dos programas de concerto, que passaram a exibir informações detalhadas ao público da orquestra. Essa nova proposta de, progressivamente, aumentar os desafios técnicos e artísticos por meio dos repertórios, teve consequências na forma de preparação, escolha de equipamento e atuação dos músicos da Osesp. Esta tese propõe, referenciada pela teoria dos \"mundos da arte\", de Howard Becker, identificar os trompetistas que atuaram na Osesp, quais os processos que utilizaram para executar os repertórios e, por fim, contextualizar a importância das temporadas de 1977 a 1980, na trajetória musical da Osesp.
The early years of the São Paulo State Symphony Orchestra (Osesp) were marked by administrative instability, which made it impossible at the time to have concert seasons. In 1973, when maestro Eleazar de Carvalho came to São Paulo, Osesp starts the structuring of its regular seasons, and one of the initiatives was the implementation of cycles of works by the same composer. In 1977, Beethoven\'s cycle was presented, followed by others that gave prominence to Schubert, Tchaikovsky, Brahms, Wagner, culminating in 1980, with the Gustav Mahler\'s cycle. The documentary research at the orchestra\'s archives also revealed that there were changes in the content of the concert programs, which began to show detailed information to the audience of the orchestra. This new proposal to progressively increase the technical and artistic challenges through repertoires had consequences in the way of preparation, choice of equipment and performance of Osesp\'s musicians. This thesis proposes, using Howard Becker\'s theory of the \"art worlds\", to identify the trumpet players who performed at Osesp, the processes they used to execute the repertoires and, finally, to contextualize the importance of the seasons from 1977 to 1980, to the Osesp\'s musical path.
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Adams, Richard (Richard James). "A Study of the Impact and Influence of the Recordings and Pedagogy of David Baldwin." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248486/.

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David Baldwin has been the trumpet professor at the University of Minnesota since 1974. His most celebrated accomplishment is his recording of the Charlier 36 Etudes de Transcendantes and the Marcel Bitsch Vingt Etudes. In addition to this recording Baldwin has made recordings of etude books by Small, St. Jacome, Arban, Caffarelli, Smith, and the 32 Etudes de Perfectionnement also by Charlier. The quality of performance on all of these makes them excellent reference recordings. The back cover of the Etudes 32 de Perfectionnement reveals that the two-CD album, with a total run time of 115:35, was recorded over a span of four days. Endurance is a topic that all brass players confront. Baldwin wrote an etude book titled Lips of Steel that also contains two previously published articles on the topic of endurance. His ideas on endurance reveal a unique approach. This study analyzes the pedagogical concepts in those articles and in Lips of Steel. In addition to his recording projects, Baldwin has had many successful students. Thomas Rolfs and Lynn Erickson are both members of full-time professional orchestras. Larry Griffin, Scott Hagarty, and many others built their careers as professors of trumpet. An investigation of Baldwin's influence on his students further reveals how he approaches teaching and how his pedagogy has influenced his students who are now successful college professors.
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Benck, Filho Ayrton Müzel. "O frevo-de-rua no Recife : características socio-histórico-musicais e um esboço estilístico-interpretativo." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9157.

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155 f.:il
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Esse estudo oferece características sobre o processo prático-interpretativo do Frevo-de-Rua pelos trompetistas profissionais no Recife. A caracterização faz-se através da pesquisa de survey entre os trompetistas e entrevistas semi-estruturadas com os alguns dos principais maestros de frevo no Recife. Como objetivo específico, visa verificar a existência da recorrência na escolha de estratégias prático-interpretativas do gênero. Sendo assim, delineia-se um estilo prático-interpretativo dos trompetistas de frevo-de-rua, descrevendo alguns de seus processos de realização dos parâmetros interpretativos: andamento, articulação, acentuação e dinâmica. Também são examinadas várias características importantes aos intérpretes músicais interessados a formar um ou ampliar seus conceitos interpretativos do gênero. Essa caracterização envolve: aspectos sociais, enfocando o frevo dentro de seu ambiente social; aspectos históricos, levantando alguns dos fatos importantes para o frevo-de-rua; aspectos musicais, examinando as origens, classes, conjuntos instrumentais característicos e uma análise de seus elementos estruturais.
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Books on the topic "Trumpet players"

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Keim, Friedel. Das Trompeter-Taschenbuch: Wissenswertes rund um die Trompete. Mainz: Atlantis, 1999.

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Clerc, Vincent Jean-Michel. Impact strength of the trumpet player. Besançon: Burs, 2012.

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Gade, Per. Bobby Mickleburgh: Trumpet player, trombone player, tuba player, band leader, mouthpiece-maker. Greve (Ved Skellet 6, 2670): Quality Music Press, 2005.

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Autenzio, Richard. Profiles of the Australian trumpet player. Sherwood, Qld: Enzio Publishing, 1991.

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Daneș, Tudor. Călătorul solitar. Cluj-Napoca: Editura Dacia, 1988.

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Morrison, James. Blowing my own trumpet. Sydney: Murdoch Books, 2006.

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Awmiller, Craig. Wynton Marsalis: Gifted trumpet player. New York: Children's Press, 1996.

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Keim, Friedel. Das grosse Buch der Trompete: Instrument, Geschichte, Trompeterlexikon. Mainz: Schott, 2005.

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Shepard, Craig. Zu Fuss. Zürich: Edition Howeg, 2008.

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Hamber, C. R. Without vibrato: Distant memories and reflections of a cavalry boy trumpeter. London: Minerva, 1998.

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Book chapters on the topic "Trumpet players"

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Cooper, Andy, and Neil Martin. "The Impact of a Prototype Acoustically Transparent Headphone System on the Recording Studio Performances of Professional Trumpet Players." In Innovation in Music, 368–84. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781351016711-23.

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Gardner, Noah, and Shaelyn Patzer. "How POTUS Plays on Late Night." In Late Night with Trump, 79–110. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429427916-4.

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"TRUMPET AND HORN PLAYERS." In The Horn, 80–87. Yale University Press, 2023. http://dx.doi.org/10.2307/jj.9421074.18.

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"9. The trumpet and its players in the nineteenth and early twentieth centuries." In The Trumpet, 194–224. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300178166-014.

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Sandke, Randy. "The Trumpet in Jazz." In The Oxford Companion To Jazz, 613–27. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0048.

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Abstract Metal trumpets were known in Egypt as far back as the second millennium B.C., but it wasn’t until the early nineteenth century that the valved instrument, capable of playing a full chromatic scale, was invented. The cornet, a descendent of the military bugle, developed around the same time. Trumpets and cornets are made of brass and share the same range and technique, differing only in the diameter of their tubing: trumpets have a uniformly cylindrical bore until the flare of the bell, whereas cornets have a constantly expanding “conical” bore. This produces a generally brighter, more penetrating tone on the trumpet and a darker, more rounded tone on the cornet. Toward the latter half of the nineteenth century the trumpet was the preferred instrument of symphony orchestras, where it played and continues to play a largely subservient role, while the cornet became the leading voice in wind bands. As such, the cornet developed more quickly as a solo instrument, capable of dazzling agility and expressiveness. This was the golden age of the cornet virtuoso as personified by J.B. Arban (author of the method book brass players still cut their teeth on) and Herbert L. Clarke, soloist of the Sousa band.
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Campos, Frank Gabriel. "Performance Psychology." In Trumpet Technique, 136–64. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195166927.003.0007.

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Abstract Research from the partnership of sport and science has given the performing arts an understanding of how the mind functions in high-level performance and specific ways to train the mind to enhance performance ability. Gaining control of the mental aspects of performance is an important contributing factor in the success or failure of any performer. Finding a teacher or coach who puts the same emphasis on mental skill as on phys-ical skill is extremely rare. Players whose performance problems are rooted in the mental aspects of performance often learn to cope through hard and unpleasant lessons.
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van Pelt, Nadia T. "Queen’s Trumpet or Second Fiddle." In Intercultural Explorations and the Court of Henry VIII, 1–42. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192863447.003.0001.

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Abstract This chapter addresses the mobility of instrumentalists, in particular, trumpet players, drummers, and loud and still minstrels, between the courts of Europe. Taking as a starting point the two trumpet players who performed at the court of Henry VIII, and have received much scholarly attention: John de Cecil and John Blanke (the latter identified as the instrumentalist of colour who is displayed on the Westminster Tournament Roll), this chapter then complements the English sources by providing new information regarding the four instrumentalists who can be proved to have travelled to England with Katherine of Aragon. For this I rely on financial account books such as Gonzalo de Baeza’s Cuentas, Morales’s Data, the records of employment at the court of Isabella of Castile in La Casa de Isabel la Cátolica, and various sources from the Archivo General de Simancas. Additionally, this chapter will show that John Blanke, contrary to current belief, was not the first Black musician at the Tudor court. This chapter will reveal who was.
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Driggs, Frank, and Chuck Haddix. "Moten’s Swing." In Kansas City Jazz, 107–34. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195047677.003.0007.

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Abstract After Reluctantly Accepting Ed Lewis’s and Thamon Hayes’s resignations, Bennie Moten patched the band back together with top-notch players. Elmer Crumbley, a yeoman trombonist, replaced Hayes. Joe Keyes and Joe Smith joined Lips Page, rounding out the trumpet section. Keyes, a skilled section player and strong soloist when sober, joined the band following a brief stint with Blanche Calloway. Smith, noted for his stage antics and outstanding muted trumpet style, came aboard from McKinney’s Cotton Pickers. Moten scored a real coup when Walter Page joined the band.1 Over the years, Basie, Durham, Rushing, and Moten had tried their best to recruit Page, to no avail.
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Williams, Martin. "Thad Jones: A Musical Family." In Jazz In Its Time, 81–85. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195069044.003.0017.

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Abstract Thaddeus Joseph Jones is the musical middle brother of a Jones family which has more talent than any two, or any three, families have a right to. Older brother Hank Jones is one of the most well-equipped and dextrous pianists in jazz history (imagine a style in which both Art Tatum and Bud Powell are discernible as major influences). Younger brother Elvin Jones is an innovative drummer who, particularly for his work with the late John Coltrane, is considered the jazz durmmer of the 1960s by a whole generation of young players. Thad plays trumpet-or he did; nowadays, he is more likely to be heard on cornet.
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Rice, Albert R. "Origins of the Chalumeau." In The Baroque Clarinet and Chalumeau, 1–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0001.

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Chapter 1 describes the basic construction of the chalumeau and discusses its ancestors in Egyptian antiquity and from the tenth through the 17th centuries; the mock trumpet; chalumeaux during the 17th and 18th centuries; Jacob Denner’s chalumeaux and clarinets revealed in archival sources and three surviving two-key clarinets; an organ pipe that sounds like a chalumeau; chalumeau players; chalumeau descriptions from the mid-18th century; later documented chalumeau makers; and chalumeau reproductions. Ten surviving chalumeaux are described in detail and biographical information is presented on seven makers. Individual players are identified when playing specific musical works, and the chalumeau size as required in the music. Late-19th- and early-20th-century reproductions of chalumeaux and their makers are identified.
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Conference papers on the topic "Trumpet players"

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Dalgleish, Mat, Chris Payne, and Steve Spencer. "Adding Value: Combining Ambient Visual and Vibrotactile Feedback to Encourage Good Posture in Trumpet Players." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.56.

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Soņeca, Viktorija. "Tehnoloģiju milžu ietekme uz suverēnu." In The 8th International Scientific Conference of the Faculty of Law of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/iscflul.8.1.18.

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In the last two decades, we have seen the rise of companies providing digital services. Big Tech firms have become all-pervasive, playing critical roles in our social interactions, in the way we access information, and in the way we consume. These firms not only strive to be dominant players in one market, but with their giant monopoly power and domination of online ecosystems, they want to become the market itself. They are gaining not just economic, but also political power. This can be illustrated by Donald Trump’s campaigns, in which he attempted to influence the sovereign will, as the sovereign power is vested in the people. The Trump campaigns' use of Facebook's advertising tools contributed to Trump's win at the 2016 presidential election. After criticism of that election, Facebook stated that it would implement a series of measures to prevent future abuse. For example, no political ads will be accepted in the week before an election. Another example of how Big Tech firms can effect the sovereign is by national legislator. For example, Australia had a dispute with digital platforms such as Facebook and Google. That was because Australia began to develop a News Media and Digital Platforms Mandatory Code. To persuade the Australian legislature to abandon the idea of this code, Facebook prevented Australian press publishers, news media and users from sharing/viewing Australian as well as international news content, including blocking information from government agencies. Such action demonstrated how large digital platforms can affect the flow of information to encourage the state and its legislature to change their position. Because of such pressure, Australia eventually made adjustments to the code in order to find a compromise with the digital platform. Also, when we are referring to political power, it should include lobbying and the European Union legislator. Tech giants are lobbying their interests to influence the European Union’s digital policy, which has the most direct effect on member states, given that the member states are bound by European Union law.
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Kaburagi, Tokihiko, Naoyuki Yamada, Takashi Fukui, and Eriko Minamiya. "A morphological and acoustic study on the effect of a trumpet player's vocal tract." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799106.

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Joshi, Vedant, and Francine Battaglia. "A Risk Assessment of Pathogen Transport During an Indoor Orchestra Performance." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-73290.

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Abstract The COVID-19 pandemic has shown that airborne pathogens and viruses have a detrimental impact on the health and well-being of an individual in an indoor space. Respiratory particles are released as droplets of varying velocities and diameters, where smaller droplets (aerosols) linger in air for prolonged periods, increasing the infection risk of individuals in an enclosed space. The pandemic has raised concerns regarding the safety of musicians due to respiratory particles released through woodwind and brass instruments. A collaboration with the Buffalo Philharmonic Orchestra was pursued to assess the risk of infection and develop strategies to mitigate the spread of respiratory particles using computational fluid dynamics. A coupled Eulerian-Lagrangian modeling approach was employed to examine the airflow patterns and airborne particle pathogen transport induced by the musicians in the music hall. The investigation considered three brass instruments (trumpet, tuba, trombone), without and with a bell covering. It was observed that the dispersion of particles for each instrument depended on the bell design and orientation of the instrument. For example, the trumpet produced a higher concentration of respiratory particles compared to a tuba, which has its tubing wrapped. Additionally, the effect of using bell covers (cloth covering on the opening of the brass instruments) showed that the covers reduced the number of pathogens escaping the instruments by capturing large respiratory particles and reducing the escaping velocity of small particles. Reduced particle velocities at the instrument opening meant that the particles traveled shorter distances, which helped mitigate the spread of virus in the music hall. Moreover, the efficacy of using Plexiglas partitions on the sides and in front of the musicians limited the transmission of pathogens from one musician to another. Overall, the findings of this study helped strategize the location of musicians based on the type of instruments being played and the operating conditions in the music hall to decrease the airborne transmission of the novel Coronavirus.
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Kroemmer, W., and P. Heinrich. "Development of Coatings and the Influence of Industrial Gases on the Thermal Spray Process." In ITSC2007, edited by B. R. Marple, M. M. Hyland, Y. C. Lau, C. J. Li, R. S. Lima, and G. Montavon. ASM International, 2007. http://dx.doi.org/10.31399/asm.cp.itsc2007p0118.

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Abstract Not least because of the multitude of the possibilities which this process has to offer, has thermal spraying established itself in an extremely wide range of industrial sectors. In quest of new applications, special attention is frequently paid to the properties of individual systems. However, the trumps of the process can only be played out in combination with all the components as a whole. In industry nowadays, it is often the costs alone which are hotly disputed, and especially so when it comes to industrial gases. Yet precisely here infinite opportunities present themselves to positively influence the process. Starting with the optimization of costs, followed by the lifetime of the systems, through the variety of coating properties which can be tailored to the application, the influencing variables are endless. Investigations into this potential are already in full swing. Powder manufacturers are testing the many possibilities in their laboratories and have put their heads together with the R&D departments of hardware and gas suppliers in an effort to continually broaden the coating spectrum.
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Tournemenne, Robin, Jean-François Petiot, Bastien Talgorn, and Michael Kokkolaras. "Brass Instruments Design Using Physics-Based Sound Simulation Models and Surrogate-Assisted Derivative-Free Optimization." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59532.

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This paper presents a method for design optimization of brass wind instruments. The shape of a trumpet’s bore is optimized to improve intonation using a physics-based sound simulation model. This physics-based model consists of an acoustic model of the resonator (input impedance), a mechanical model of the excitator (the lips of a virtual musician) and a model of the coupling between the excitator and the resonator. The harmonic balance technique allows the computation of sounds in a permanent regime, representative of the shape of the resonator according to control parameters of the virtual musician. An optimization problem is formulated, in which the objective function to be minimized is the overall quality of the intonation of the different notes played by the instrument (deviation from the equal-tempered scale). The design variables are the physical dimensions of the resonator. Given the computationally expensive function evaluation and the unavailability of gradients, a surrogate-assisted optimization framework is implemented using the mesh adaptive direct search algorithm (MADS). Surrogate models are used both to obtain promising candidates in the search step of MADS and to rank-order additional candidates generated by the poll step of MADS. The physics-based model is then used to determine the next design iterate. Two examples (with two and five design optimization variables, respectively) are presented to demonstrate the approach. Results show that significant improvement of intonation can be achieved at reasonable computational cost. The implementation of this method for computer-aided instrument design is discussed, considering different objective functions or constraints based on intonation but also on the timbre of the instrument.
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Aquino, Eduardo. "Copacabana Non-Public: Toward a New Public Attitude." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.52.

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More than a physicality, public space is a condition beyond an urban fragment or locality. Before it becomes a place, public space exists as a shared value. The devastation of the Amazon forest by multinational meat producers, the launch into space of a Tesla Roadster by Elon Musk, shootings in public schools, and the development of a new Trump tower in a big city somewhere in the world are just some examples of spaces being taken over by the relentless neoliberal advances into places that were once shared or not claimed at all, or simply considered “public.” This process of takeover happens persistently in our cities, through ever-subtle or overstated methods by corporations and governments, by disfranchised groups, empowered tribes, or simply disguised by over-regulation. Starting from the premise that, in fact, “public space” as we know does not exist, this paper explores the notion of “non-public” as a critical foundation for a new reclamation of our cities. The paper plays the devil’s advocate to counterpoint the frequent academic discourse that references public space as a normalized urban entity. Taking on a shifted direction Copacabana Non-public challenges the notion of what constitutes “public space” to change so many fixed assumptions. Instead of dancing around the subject, it exercises the consideration of the conditions that make public space in reality non-public—its constituencies and jurisdictions, its stakeholders and claimants, its crisis and promises. Taking Copacabana beach as a study case, Copacabana Non-public seeks to map out the real actors of public space to locate new strategies of engagement to transform its pseudo-public character, to identify policy and design strategies that reclaim urban spaces for more democratic citizenries.
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