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1
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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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.
Salvador
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Darrington, Ian A. "Trumpet mouthpieces : an in-depth study : an investigation into trumpet mouthpiece design of the twentieth century and the relationship that has developed between design, the players and the music with special reference to jazz and big band music." Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411585.
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Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.
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The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study.School of Music
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Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.
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Wilson, Lindy. "The trumpet player." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/12494.
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Clark, Edward S. "Twenty Interesting Etudes for the Developing Trumpet Player: The Challenges of Range and Need for Intermediate Etudes." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555629266258488.
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Redmond, James Delmar. ""Because You Previously Liked or Played"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707361/.
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Because You Previously Liked or Played is a poetry manuscript that attempts to respond to the Trump administration in a new way unique to the medium of poetry. Trump is the central, all-pervading subject of this text, but the rise of web 2.0 and new media which normalizes a quick and unrelenting consumption of information is another essential focal point. The manuscript works both within and against the various political channels, discourses, and entanglements, within and against the various ways these mediums affect and are affected by Trump. Ultimately, the problems associated with our information age inform much of the manuscript's sense of loss, confusion, and questioning, but they also give shape to a spirit of cultural critique, amounting to a register that both speaks from within but looks from outside the Trump-Technology continuum. In order to achieve this effect, the manuscript approaches this Trump-Technology continuum and the ensuing political climate from a variety of contradictory emotions and responses to the reality we find ourselves in via a multitude of psychological frames, outlooks, and experiences, however uncomfortable, that this presidency has altered. And it does this through poetry's unique ability to provide the reader with an embodied and immediate experience, to elicit thereby some human response to reality and to get us to see anew what we no longer see or have been overexposed to, with the aim to render a sort of complete presentation of the fractured social sphere as it actually is. In that sense, the manuscript achieves a certain level of authenticity. Torn between the want to diminish or counteract the Trump administration and the admission of its power over us all, the manuscript provides no easy answers, coping mechanism, or singularly coherent narrative, but rather gives voice to the factors that contribute to our current cultural moment and showcases the range and extent of Trump's influence over both the unexamined and overly examined aspects of our lives in a way that, I hope, is accurate, evocative, and honest.
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Robinson, Sarah Emily. "'In her right hand she bore a trumpet, in her left an olive branch ...' : performance space and the early modern female wind player." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3837.
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References to early modern female wind players are scattered across a wide range of organological, iconographical and musicological scholarship. Normally highlighted as being unusual and in stark opposition to conventional ideals of female behaviour and musical practice of this time, such examples are often reduced to footnotes or side-lined as interesting, but unique instances. To date, no scholar has systematically brought these sources together to examine the continuities, tensions and changes to representations of, attitudes to, and detailed evidence for early modern women playing wind instruments. Among the questions I ask in this thesis are: How did early modern female wind players have access to musical educations, tutors, instruments and repertoire? What were the types of performance spaces in which they could play? Were there any constraints or rulings that stipulated how they were to present their music to private or public audiences? And where possible, I will also ask how female wind players were received by audiences and how the presentation of such unusual skills might have been used to contribute to institutional reputations. Importantly, these examples enable moments of change and stasis in the use of wind instruments to be traced to certain times and places during the early modern period which, in turn, reflect wider social patterns relating to musical developments, as well as changing instrument use and accessibility. This study reframes examples of real women playing wind instruments using the organising principle of performance space. A wide range of evidence from many source types, including documents, pictures, musical notation and literature will be examined in the context of the various social arenas in which women could participate and engage in wind-playing. This includes amateur wind-playing in sixteenth-century courtly culture in France and the Low Countries, as well as domestic spaces in late seventeenth and eighteenth-century England. The employment of women from the families of professional musicians are evident in a variety of examples ranging from mixed-gender spaces such as courts and an Italian academy, to all-female environments, including convents and Venetian conservatories. By drawing these examples together, which extend across Europe and throughout the sixteenth, seventeenth and eighteenth centuries, several overarching themes emerge, including the importance of age and male guardianship, as well as the strong connection between wind-playing and singing. A study of this breadth of accumulated evidence, which encompasses musical, geographical, political and cultural nuances, enables a re-examination of the current tendency to regard all wind-playing by women in early modern Europe to have been simply ii unacceptable and apparently ‘forbidden’. Rather, what actually occurred in practice was that wind-playing women occupied a variety of roles as exemplars of genteel courtly manners, as professional musicians, as members of all-female ensembles, and as paragons of domesticated female restraint.
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"Biographies of the Most Influential Twentieth Century Trumpet Players in Asia." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.41243.
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abstract: ABSTRACT:
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.Dissertation/Thesis
Doctoral Dissertation Music 2016
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Pastorková, Sabrina. "Zahraniční politika Trumpovy administrativy: Vypovězení Pařížské dohody z pohledu dvouúrovňové hry." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405116.
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Foreign policy of Trump's administration: Withdrawal from the Paris Accord through the lens of two-level game theory Abstract Foreign policy of President Donald Trump has been a point of enquiry of many scholars so far. In the literature, we can observe a great diversity in opinions that attempt to explain his motivations in certain specific foreign policy actions. The main focus of this diploma thesis is laid on the withdrawal from international treaties, namely the Paris Accord from 2015. In this idiographic case study, we utilize the theory of two-level games by Robert Putnam which enables us to analyze the link between the domestic level of the decision to withdraw the international treaty. By identifying veto players in the U.S. political system, more concretely in its environmental policies, we were able to uncover the underlying notions behind the decision. Veto players in our case were the Congress with Republican and Democratic party, electoral impetus covering the general public opinion and new actors entering the public debate (private companies and states). Alternatively, we described the President's and his administration distinctive motivations. The thesis provides a new insight into the politics of the decision to withdraw from the Paris Accord. As per our findings, the electoral impetus is...