Journal articles: '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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11

Sullivan, Walter G. "REPAIR OF RUPTURED ORBICULARIS ORIS IN TRUMPET PLAYERS." Plastic and Reconstructive Surgery 83, no. 3 (March 1989): 578. http://dx.doi.org/10.1097/00006534-198903000-00065.

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Dong, Rui. "Teaching Development and Playing Art of Trumpet." Learning & Education 10, no. 2 (September 16, 2021): 110. http://dx.doi.org/10.18282/l-e.v10i2.2294.

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In the many types of orchestral instruments, the trumpet sound is loud and expressive, known as the king of steel pipe instruments, which plays a very important role in the development of musical instruments. This modern wind instrument has a rich artistic expression and has relatively high requirements for the players. Based on this, this paper discusses the teaching development and basic playing method of the trumpet teaching instrument to improve the teaching effect.

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Chen, Jer-Ming, John Smith, and Joe Wolfe. "Do trumpet players tune resonances of the vocal tract?" Journal of the Acoustical Society of America 131, no. 1 (January 2012): 722–27. http://dx.doi.org/10.1121/1.3651241.

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14

Killion, Mead C. "Factors Influencing Use of Hearing Protection by Trumpet Players." Trends in Amplification 16, no. 3 (September 2012): 173–78. http://dx.doi.org/10.1177/1084713812468514.

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Taryadi, Taryadi, and Bakhrudin Latif. "Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 62–73. http://dx.doi.org/10.24821/resital.v23i1.6758.

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The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era.

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Taryadi, Taryadi, and Bakhrudin Latif. "Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 62–73. http://dx.doi.org/10.24821/resital.v1i1.6758.

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The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era.

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Devroop, Karendra, and Kris Chesky. "Comparison of Biomechanical Forces Generated during Trumpet Performance in Contrasting Settings." Medical Problems of Performing Artists 17, no. 4 (December 1, 2002): 149–54. http://dx.doi.org/10.21091/mppa.2002.4024.

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The primary aim of this study was to investigate how mouthpiece forces may vary as a function of the setting in which the musicians are asked to perform. Ten college-level trumpet players were assessed while playing the same pieces of music in a jazz big band rehearsal and a controlled laboratory/clinical setting. Trumpet force was measured using a custom Trumpet Sensor System that measures mouthpiece forces and angular position. Overall, the results from this study indicate that mouthpiece forces generated in the research laboratory were similar to those in the rehearsal venue. The data indicate no significant differences between the two conditions that warrant concern for collecting performance data in an experimental setting.

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Cahyono, Agus, Septian Cipto Nugroho, and Wadiyo Wadiyo. "The Symbolic Interaction in Trumpets Playing During Worship Ceremony at Higher Than Ever Church." Mudra Jurnal Seni Budaya 38, no. 3 (May 26, 2023): 259–68. http://dx.doi.org/10.31091/mudra.v38i3.2334.

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The trumpet is an ancient instrument made of a sheep’s horn that is found in the Bible. In worship at the Higher Than Ever Church, the trumpet instrument is combined with modern musical instruments. Dealing with the background, the main focus of this study is related to symbolic interaction in the playing of Trumpet. The qualitative method using a research approach to the sociology of art approach was used in this research. The data obtained through observation, interviews, and documentation. Checking the validity of the data used source triangulation and data analysis used the contextualization of the synthesis model. The finding indicated that the symbolic interaction of playing the Trumpet started with Bible study activities, then it was conveyed to the congregation through the activity of Family Altar and other congregational activities, then after that the Trumpet instrument was played in the main worship ceremony. The conclusion has showed that symbolic interaction occurs between the Pastoral team and God through Bible study. Further, it is also between the Pastoral team and the leaders of the Family Altar, between the head of the Family Altar and church members, between the Trumpet players. Congregation and God when the worship ceremony is taking place.

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Flores-Franco, René A., and Nancy E. Limas-Frescas. "The Overused Airway: Lessons from a Young Trumpet Player." Medical Problems of Performing Artists 25, no. 1 (March 1, 2010): 35–28. http://dx.doi.org/10.21091/mppa.2010.1007.

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Young trumpet players are predisposed to certain performance-related health risks. Nevertheless, the published experience with specific disorders is considered confusing and anecdotal. In the context of a review of the literature, we analyze a case report of a young patient who presented with two different disorders typically related to trumpet playing. After considering the diagnoses that had been made elsewhere, we were able to make the correct diagnoses and choose the correct treatment. We conclude that physicians need to be aware of these disorders, because they could be mistakenly attributed to instrumental performance itself or misinterpreted as serious conditions that require medical intervention.

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Watson, Alan HD, and Kevin Price. "Embouchure Muscle Activity in Student and Elite Trumpeters." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 42–53. http://dx.doi.org/10.21091/mppa.2020.1006.

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AIMS: Objective information on embouchure muscle use in brass players is currently limited. This pilot study records and analyses embouchure muscle activity in trumpet players to identify typical patterns and to reveal how these can differ between playing tasks. METHODS: Activity in four embouchure muscles was recorded using surface electromyography in 7 conservatoire trumpet students and 3 elite professional trumpeters. Each played a set of simple exercises, tongued and slurred, including single notes of different pitch, upward and downward transitions between notes a fifth apart, arpeggios, and a short musical piece. RESULTS: Muscle activity was initiated 0.4–2.0 s before the beginning of a note. In some players this was at a higher level than needed to sustain the note, while in others it was not. Levels of activity in all muscles generally increased and decreased together during arpeggios, in line with changing pitch. The sound was terminated by an abrupt fall in muscle activity. In many players, transitions between notes a fifth apart required no change in muscle activity, though in others this was marked by a sharp increase or decrease. CONCLUSION: Though levels of muscle activity rose consistently over large pitch ranges, there was considerable variation in the degree to which this occurred over smaller intervals. Even among the 3 professional players, the embouchure muscle activity showed clear individual patterns, suggesting that high levels of performance can be achieved in different ways. Further investigations will be needed to clarify how embouchure activity changes with proficiency.

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Harker, Brian. "Louis Armstrong, Eccentric Dance, and the Evolution of Jazz on the Eve of Swing." Journal of the American Musicological Society 61, no. 1 (2008): 67–121. http://dx.doi.org/10.1525/jams.2008.61.1.67.

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From the summer of 1926 to the summer of 1927, Louis Armstrong entered into a partnership at the Sunset Café in Chicago with a husband-and-wife dance team called Brown and McGraw. In doing so, he took part in a long-forgotten tradition of early jazz trumpet players accompanying dancers. The practice began in 1924 with pantomime artist Johnny Hudgins and his many trumpet-playing assistants. Like these trumpeters, Armstrong appeared on-stage with the dancers, playing rehearsed—though not written—solos that closely matched their steps, movements, or facial expressions. Dancers Brown and McGraw had Armstrong's lines notated in an arrangement, allowing them to hire other trumpet players to accompany them whenever they went out on tour. They were known for a dancing style that was fast, acrobatic, and unpredictable—attributes that also describe Armstrong's playing from this period. The rhythmic sensibility the three of them shared seems to have produced fertile interactions. During the time of their collaboration, Armstrong made a major shift in his approach to rhythm. Whereas previously he had tended to rely on more or less fixed rhythmic modules, some of which he inherited from ragtime, his recordings in late 1926 and 1927 reveal a rhythmic vocabulary that is free, flexible, and endlessly inventive—the foundation for the new jazz language that would emerge in the Swing Era.

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Geringer, John M., Rebecca B. Macleod, and Justine K. Sasanfar. "High School String Players’ Perception of Violin, Trumpet, and Voice Intonation." String Research Journal 3, no. 1 (July 2012): 81–96. http://dx.doi.org/10.1177/194849921200300106.

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Planas, Jaime. "Further Experience with Rupture of the Orbicularis Oris in Trumpet Players." Plastic and Reconstructive Surgery 81, no. 6 (June 1988): 975–77. http://dx.doi.org/10.1097/00006534-198806000-00030.

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Planas, Jaime. "Further Experience with Rupture of the Orbicularis Oris in Trumpet Players." Plastic and Reconstructive Surgery 81, no. 6 (June 1988): 978–79. http://dx.doi.org/10.1097/00006534-198806000-00031.

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Planas, Jaime. "Further Experience with Rupture of the Orbicularis Oris in Trumpet Players." Plastic and Reconstructive Surgery 81, no. 6 (June 1988): 980–81. http://dx.doi.org/10.1097/00006534-198806000-00032.

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Stasney, C. Richard, Mary Es Beaver, and Margarita Rodriguez. "Hypopharyngeal Pressure in Brass Musicians." Medical Problems of Performing Artists 18, no. 4 (December 1, 2003): 153–55. http://dx.doi.org/10.21091/mppa.2003.4027.

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Brass instrument players are exposed to unique health risks due to increased pharyngeal pressures necessary for performance. One such risk is development of laryngoceles, or “blowout” of the larynx. This cross-sectional observational study was performed to determine the pressure required to play different frequencies in a variety of brass instruments. The hypothesis tested was that enharmonic frequencies require the same pharyngeal pressure regardless of the instrument. The brass instruments tested were high-pressure, low-flow instruments (trumpet or French horn) or low-pressure, high-flow instruments (tuba or trombone). We were not able to substantiate Jacobs’ theory that enharmonic frequencies resulted in equal pressures regardless of instrument, but we did elicit some high pressures in the hypopharynx when playing the trumpet or horn at higher frequencies.

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Guryev, L. Ye. "TEACHING TRUMPET EMBOUCHURE TO BEGINNERS: A HEALTH PROMOTION AND PREVENTION APPROACH." Arts education and science 4, no. 33 (2022): 17–23. http://dx.doi.org/10.36871/hon.202204017.

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The paper views music education challenges caused by the lack of attention to trumpet beginners' health promotion and prevention approach. The questions of orthodontics, temporomandibular disorders, cardiovascular dysfunction, muscle dystonia, and the larynx work are touched upon. The relevance of using additional vocal tract adjustments is argued. A special attention is paid to the mouthpiece placement. It is noticed that body and arm control reduces muscle injuries when players are touching the mouthpiece with their lips. Some ways and advantages of combining trumpet playing with regular physical and meditative exercises to reduce stress and increase efficiency are considered. A number of techniques for proper posture, breathing, stamina, flexibility, concentration, reducing of muscle tension, and breath and movement synchronization are presented. It is marked that brass students should be taught self-control skills to be physically and psychologically well-balanced. A conclusion is made that the timely health promotion and prevention approach to a beginner trumpet student's training requires teachers to be aware of psychophysiological basics of brass playing and maintain consistently the professional interest for it.

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Schulz, Matthias, Bernhard Ross, and Christo Pantev. "Evidence for training-induced crossmodal reorganization of cortical functions in trumpet players." NeuroReport 14, no. 1 (January 2003): 157–61. http://dx.doi.org/10.1097/00001756-200301200-00029.

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Price, Kevin, and Alan HD Watson. "Effect of Using Ergobrass Ergonomic Supports on Postural Muscles in Trumpet, Trombone, and French Horn Players." Medical Problems of Performing Artists 33, no. 3 (September 1, 2018): 183–90. http://dx.doi.org/10.21091/mppa.2018.3026.

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AIMS: Though ergonomic supports are widely used for many groups of instruments, they are rare for brass instruments, despite the instruments’ considerable weight. Musculoskeletal injury and postural problems are common among this group, and so, both adult and young players are likely to benefit from supports that reduce the load placed on the body. This study assessed the effects on postural muscle activity of a recently developed range of supports (Ergobrass) that use a rod to transfer the weight of the instrument to a harness or to the chair or floor. METHODS: Twenty conservatoire students (mean age [SD], 20.9 ± 0.5 yrs) of the trumpet, french horn, or trombone used the supports while playing short brass studies, either sitting or standing. Surface electromyography recordings were made from key postural muscles, and their activity levels were compared with and without the support. RESULTS: Statistically significant reductions (typically 15–30%) were present in many of the muscles when using the supports, though in some players they were much larger. The number of muscles affected was least with the lightest instruments (the trumpet), with the effects mainly in the left deltoid and trapezius muscles. Reductions for the horn were bilateral, principally in biceps, pectoralis major, and deltoid; while in the trombone, they were confined to the left side (pectoralis major, posterior deltoid, and trapezius), as the right arm is in constant use to move the slide. CONCLUSIONS: The supports are effective in reducing postural muscle activity and may be of particular benefit to injured or young players.

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Rumsey, Hannah E., Sahil Aggarwal, Erin M. Hobson, Jeeyn Park, and Peter Pidcoe. "Anxiety’s Effect on Muscle Activation and Fatigue in Trumpet Players: A Pilot Study." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 203–10. http://dx.doi.org/10.21091/mppa.2015.4038.

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

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Causse, Rene, and Vincent Freour. "Evaluation of two control parameters of trumpet players as function of sound features." Journal of the Acoustical Society of America 125, no. 4 (April 2009): 2597. http://dx.doi.org/10.1121/1.4783881.

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Krstić, Marija. "All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival." Issues in Ethnology and Anthropology 7, no. 2 (February 28, 2016): 447–70. http://dx.doi.org/10.21301/eap.v7i2.7.

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In this paper I research famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing on line photographs about the festival. The Dragačevo Trumpet Festival is one of the most famous music festivals in Serbia and one of the most famous brass band festivals in the world. Since 1961, it is annually held in the village of Guča in western Serbia. From 1962, the participants from other parts of Serbia came to Guča, while in 1963 for the first time the Roma players participated. From that time on, Roma remained among the best trumpeters at the competitions. However, during these fifty years, the festival always demonstrated and was conceptualised as the carrier of the Serbian folk tradition and culture. In my research I use visitors’ photographs available on one of the websites dedicated to Guča, www.guca.rs, in order to question how the festival’s photographs visually represent the Serbs. The main goal of the paper is to explain and show how Guča festival found its place in modern Serbia in spite of its rural, folk, barbarian and sometimes nationalist representation.

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Sehmann, Karin Harfst. "The Effects of Breath Management Instruction on the Performance of Elementary Brass Players." Journal of Research in Music Education 48, no. 2 (July 2000): 136–50. http://dx.doi.org/10.2307/3345572.

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The present study is an investigation of the effects of breath management instruction on the performance of elementary brass players. The experimental group ( N = 32) received instruction on the use of air during brass performance. The control group ( N = 29) continued with instruction from their method books. Three measures for breathing (thoracic displacement, abdominal displacement, and lung capacity) and for performance (range, duration, and tone quality) were the dependent variables. The data were analyzed using multivariate and univariate analyses of covariance. Independent variables included group (experimental and control), instrument (trumpet, horn, and trombone), and grade level (fourth, fifth, and sixth). Main effects for group showed that the experimental group had significantly higher scores on measures of abdominal displacement, range, and duration ( p < .05). There were no treatment-by-instrument or treatment-by-grade-level interactions. Breathing instruction in group lessons was effective in improving the breathing and performance of elementary brass players.

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Miksza, Peter, and Leonard Tan. "Predicting Collegiate Wind Players’ Practice Efficiency, Flow, and Self-Efficacy for Self-Regulation." Journal of Research in Music Education 63, no. 2 (July 2015): 162–79. http://dx.doi.org/10.1177/0022429415583474.

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The purpose of this study was to determine whether students’ practice efficiency, flow during practicing, and self-efficacy for self-regulation varied as a function of their practice tendencies, their tendencies toward self-evaluation, their self-regulatory tendencies to be self-reflective when practicing, tendencies to exhibit grit in their learning, and their teachers’ methods of instruction in practicing. Participants were 52 studio lesson teachers and 241 of their students from 25 large collegiate music programs in the United States. Both the teachers and students represented a diverse range of instruments: flute, oboe, bassoon, clarinet, saxophone, French horn, trumpet, trombone, euphonium, and tuba. The data for this study were self-reports collected via online questionnaires. Findings indicated that of the five predictor variables examined, only two—students’ tendencies to exhibit grit in their learning and their tendencies to be reflective about their practicing—were consistently related to the three outcome variables. Furthermore, all outcome variables were significantly related to one another.

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Robin, Donald A., Anuj Goel, Lori B. Somodi, and Erich S. Luschei. "Tongue Strength and Endurance." Journal of Speech, Language, and Hearing Research 35, no. 6 (December 1992): 1239–45. http://dx.doi.org/10.1044/jshr.3506.1239.

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Tongue strength and endurance (fatigue) were examined in subjects who have acquired high skill levels with their tongues (supranormal) and in subjects who use the tongue normally. The supranormal groups were trumpet players and high school debaters who were able to speak intelligibly at rates much faster than normal. Hand strength and fatigue were also assessed. Maximal strength was measured by recording how much pressure an individual could exert on an air-filled bulb. Endurance was measured by determining how long subjects could sustain 50% of their maximal pressure. Results showed that maximal strength of the tongue and hand did not differentiate the supranormal subjects from the normal subjects. Hand endurance did not differentiate the subjects either. However, the supranormal groups had significantly longer tongue endurance times than did the normal subjects.

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Iușcă, Dorina Geta. "Successful Music Performer’s Personality Traits." Review of Artistic Education 22, no. 1 (June 1, 2021): 318–23. http://dx.doi.org/10.2478/rae-2021-0040.

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Abstract Music-education practice has revealed the fact that, in order to become a successful music performer, not only certain physical and perceptive attributes (such as the amplitude of open palm, thoracic capacity, rhythmic accuracy, musical hearing), but a series of personality traits related to the complexity of social, cognitive and emotional activities associated to music performance are also needed. Scientific research focused on high quality music performers’ personality traits has been generated by a series of stereotypes that had been developed across time in the musical world. For example, it has often been said (Woody, 1999) that trumpet players are proud, impetuous, detached and dominating, whereas woodwind players are more feminine, more intelligent and shyer. The present study aims to review the most relevant experiments related to the personality profile of the successful music performer. A growing body of research has discovered ten important traits: androgyny, originality, independence, self-motivation, perseverance, sensibility, high capacity of interpersonal communication, extroversion, the need for attention, and trait anxiety. I discuss about a series of educational implications of this personality profile in connection to the development of a successful career in academic music. Discovering and developing these traits early on could be an essential support in creating an exceptional educational path in vocal and instrumental music performance.

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Hewitt, Michael P., and Bret P. Smith. "The Influence of Teaching-Career Level and Primary Performance Instrument on the Assessment of Music Performance." Journal of Research in Music Education 52, no. 4 (December 2004): 314–27. http://dx.doi.org/10.1177/002242940405200404.

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The purpose of this investigation was to examine the influence of teaching-career level and primary instrument on music teachers' assessment of music performance. The main and interaction effects of three career-level conditions (in-service teachers, upper-division undergraduate students, and lower-division undergraduate students) were examined, along with two primary instrument conditions (brass, not brass), on tone, intonation, melodic accuracy, rhythmic accuracy, tempo, interpretation, and technique/articulation. Participants ( N=150) listened to performances of six junior high trumpet players of various abilities and rated them using the Woodwind Brass Solo Evaluation Form (Saunders & Holahan, 1997). No statistically significant differences were found for the vast majority of interactions or main effects for either career level or instrument condition, suggesting that no relationship exists between teaching-career level and primary performance instrument on the evaluation of music performances. June 1, 2004 October 27, 2004.

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Hewitt, Michael P. "Influence of Primary Performance Instrument and Education Level on Music Performance Evaluation." Journal of Research in Music Education 55, no. 1 (April 2007): 18–30. http://dx.doi.org/10.1177/002242940705500103.

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The purpose of this study was to examine the impact that education level and primary performance instrument have on the evaluation of music performances. Participants (N = 423) in the study were middle school (n = 187), high school (n = 113), and college (n = 123) musicians who performed on either a brass (n = 115) or a nonbrass (n = 301) instrument. They listened to six junior high trumpet performances by players of various abilities. Results indicated statistically significant findings on six of seven performance subareas for the interaction of education level and performer, and significant main effects for performance instrument, education level, and performer. For many subarea-by-performer interactions, middle and high school students rated performances lower than did college students. In all performance areas (except melodic accuracy), there was a strong lack of influence for instrument (brass, nonbrass) on evaluation. The results suggest that it may be prudent to incorporate activities that help develop evaluation skills in middle and high school instrumental rehearsals.

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Purser, David. "Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires." British Journal of Music Education 22, no. 3 (October 21, 2005): 287–98. http://dx.doi.org/10.1017/s0265051705006546.

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This article was motivated by a staff development session when the brass faculty of a conservatoire were invited to share and discuss their approaches to teaching. It presents the results of interviews with six well known woodwind or brass players who have also taught at one or more conservatoires in London for periods of between one and 40 years. All are male. The six instruments represented are: trumpet, horn, trombone, flute, clarinet and bassoon. While there were commonalities in the approach of teachers, marked differences also emerged. Although some of these may reflect the particular demands of the instrument on which a teacher specialises, and the ease with which accomplished students of that instrument may be recruited to conservatoires, there also appear to be substantial differences in the individual approach of teachers. The findings raise the issue of whether it may be appropriate to provide some training for instrumental teachers at conservatoire level; surely one way of making the pool of accumulated wisdom more readily available, to prospective teachers and to the research community.

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

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OBJECTIVE: The functional role of the glottis in brass performance is poorly understood and controversial, particularly with respect to pedagogy. Technological limitations have prevented the non-invasive, systematic study of the glottis in the past, but developments in real-time magnetic resonance imaging (RT-MRI) allow representations of glottal movement during performance on a MRI-compatible horn to be recorded and quantified. METHODS: We present RT-MRI data obtained on 6 advanced-level horn players from serial images acquired at an acquisition time of 33.3 ms as they performed sustained note exercises on three notes (concert Eb2, Eb4, and Bb4) at each of three dynamics (pp, mf, and ff) and a staccato exercise. An advanced-level trumpet player was also studied performing a modification of the staccato exercise designed to minimize vertical movement of the larynx. Glottal movements and positions in the coronal plane were analyzed using a customized MATLAB toolkit. RESULTS: In sustained note playing, there is a significant influence of dynamic on the degree of glottal adduction/abduction. There is greater adduction with softer notes, and greater abduction with louder notes. In slow staccato playing, glottal closure accompanies the cessation of each note and persists until iteration of the next note in the sequence. CONCLUSIONS: We demonstrate that RT-MRI provides a suitable method to identify and quantify glottal movement during horn playing. We further show that there is a direct relationship between dynamic level and glottal adduction/abduction, and that the glottis is involved in performing notes during slow staccato playing.

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Wright, David, Parnassus Ensemble, and Korf. "Wolpe: Quartet No.1 Piece in Two Parts for Six Players Drei Lieder von Bertolt Brecht Piece for Two Instrumental Units Musik fur Hamlet to the Dancemaster Solo Piece for Trumpet Piece for Trumpet and Seven Instruments." Musical Times 134, no. 1799 (January 1993): 46. http://dx.doi.org/10.2307/1002648.

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Kopiez, Reinhard. "Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation." Music Perception 20, no. 4 (2003): 383–410. http://dx.doi.org/10.1525/mp.2003.20.4.383.

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

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Halliday, Mark. "Trumpet Player, 1963." Journal of Popular Music Studies 13, no. 2 (September 2001): 243–44. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00027.x.

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Yasuda, Nobuo, and Shuto Ito. "Effects of Playing Position on Hydration Status in Collegiate Marching Band Musicians." Medical Problems of Performing Artists 33, no. 3 (September 1, 2018): 175–82. http://dx.doi.org/10.21091/mppa.2018.3024.

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OBJECTIVE: Marching band musicians often endure prolonged daily practices in warm-hot outdoor environments. Evaluation of hydration status by instrument position can shed light on health-related issues for these performers. The objective of this study was: a) to determine the effects of playing position on hydration status based on urinary biomarkers (urinary specific gravity and urinary osmolality) before and after marching band practice, and b) to evaluate the relation of hydration status with body mass change and fluid consumption for all playing positions. METHODS: Fifty-eight collegiate marching band players participated in this study, involving five playing positions: band pit (n=10), baritone and euphonium (n=12), snare drum (n=13), trumpet (n=12), and tuba (n=11). All participants performed their own routine marching band practice, which lasted a total of 6 hrs on 1 day. Each individual consumed ad libitum commercially available carbohydrate-electrolyte solution during the practice. To determine hydration status, urine samples were collected before and after practice for analysis of urinary specific gravity and urinary osmolality. Body weight and total fluid intake were also assessed pre- and post-exercise. RESULTS: There were no significant effects for playing position and time or interaction concerning the levels of urinary osmolality and specific gravity after practice. CONCLUSIONS: Our main findings suggest that hydration status may be similar among the different playing positions following prolonged practice in the outdoor environment.

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Costa, Milton Melciades Barbosa, and Fátima Lago Alvite. "Lateral laryngopharyngeal diverticula: a videofluoroscopic study of laryngopharyngeal wall in wind instrumentalists." Arquivos de Gastroenterologia 49, no. 2 (June 2012): 99–106. http://dx.doi.org/10.1590/s0004-28032012000200002.

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CONTEXT: This paper analyze healthy musicians who play wind instruments. OBJECTIVE: To identify possible diverticular formations on the laryngopharyngeal wall produced by pharyngeal overpressure during the use of these instruments. METHODS: Through a videofluoroscopic method, 22 professional musicians had their pharynx analyzed in frontal face and profile, by swallowing 20 mL of barium sulfate solution and blowing against resistance. RESULTS: All the volunteers showed lateral laryngopharyngeal diverticula (3 unilateral and 19 bilateral) with areas ranging from 0.7 to 6 cm². Trumpet and clarinet players showed larger diverticula, on both the right and left sides. Any important complaints were noted spontaneously or after questions. In the barium-swallow analyses, the 41 diverticula previously identified in the blowing tests were not seen or appeared to be smaller, because of the free flux passage from the pharynx to the esophagus. Despite the existence of the other, less resistant areas on the laryngopharyngeal segment, no other protrusions could be found in this group of wind instrumentalists. CONCLUSIONS: The lateral laryngopharyngeal diverticula that occur in blow instrumentalists is distinct of diverticula produced by laryngopharyngeal overpressure determined by abnormally high resistance to flux passage from pharynx to esophagus. In musicians is the persistent and continuous pharyngeal overpressure induced by the resistance of the instrument's mouthpiece will strongly distend the anatomically less resistant areas of the pharynx, producing a large protrusion. Laryngopharyngeal overpressure without abnormal resistance to flux passage explain the way blow instrumentalists protrusions did not appear as full sacs in a barium-swallow test, despite their larger dimensions. As final conclusion the musician-acquired diverticula must be considered as an "occupational overuse syndrome".

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Sharma, Mohit. "Embouchure dysfunction in a trumpet player." Neurology India 61, no. 4 (2013): 422. http://dx.doi.org/10.4103/0028-3886.117586.

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Nakamura, Motonobu, Yaeno Arima, Satomi Nobuhara, and Yoshiki Miyachi. "Nickel allergy in a trumpet player." Contact Dermatitis 40, no. 4 (April 1999): 219–20. http://dx.doi.org/10.1111/j.1600-0536.1999.tb06044.x.

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Hosseini, Davood K., Lesley Philip, Ghassan Sayyegh, Michael Sciarra, Ali Sedarat, and Christopher G. Mapa. "S2103 Zenker’s Diverticulum: A Trumpet Player With Dysphagia." American Journal of Gastroenterology 116, no. 1 (October 2021): S906. http://dx.doi.org/10.14309/01.ajg.0000781944.42206.b5.

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Giordano, N. "Force on the lips of a trumpet player." Journal of the Acoustical Society of America 145, no. 3 (March 2019): 1521–28. http://dx.doi.org/10.1121/1.5094763.

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Conley, Stephen F., Robert B. Beecher, and Susan Marks. "Stress Velopharyngeal Incompetence in an Adolescent Trumpet Player." Annals of Otology, Rhinology & Laryngology 104, no. 9 (September 1995): 715–17. http://dx.doi.org/10.1177/000348949510400909.

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The youngest reported patient with stress velopharyngeal incompetence is presented. The patient's symptoms responded to rest with a possible contribution from palatal exercise. Surgical correction would appear to best be reserved for the professional musician with this unusual condition.

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Journal articles on the topic 'Trumpet players'

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