Dissertations / Theses: 'Trumpet'

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Channon, Harriet Alice. "For Trumpet Alone: Australian Unaccompanied Trumpet Music." Thesis, The University of Sydney, 2020. https://hdl.handle.net/2123/24566.

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This research focuses on the body of unaccompanied trumpet music written by contemporary Australian composers. Australian unaccompanied works were analysed with the objective of identifying and categorizing thematic material and overall influences over the works, focusing on those that relate to the portrayal of Australian musical characteristics as defined after a thorough literature review surrounding the development of Australian music. The characteristics relate to the portrayal of Australian: fauna and flora; landscape and climate; people and culture – both individual and as a whole; a composer’s personal experiences and personality; national psyche; geographical position; geographical ties; history and historical ties; and musical-cultural ties. Analysis focused on pitch, rhythm, intervals, melodic contour, structural influence, programmatic material, and use of silence, followed by, if possible, an interview with the work’s composer. Compositional context and interpretational intent behind the works were discussed. Analysis of works by Alan Holley in particular allowed for the development of a basis for depiction of bird song, bird movement, insect life, landscape, and the influence of Australian people. Other works could be compared in order to find commonalities within the cohort, as well as differences in depiction and interpretation. Some works displayed characteristics unrelated to Australian musical characteristics, rather displaying influences such as unnatural landscapes, the nature and historical context or role of the trumpet, as well as formulaic techniques. Identification of multifarious influences present allowed for development of a possible performance context and interpretational basis for each work. It highlighted different compositional trends within the body of works. These works have in general not been submitted to this type of analysis before and so this information could prove invaluable to performers coming to these works in the future.

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

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Brownlow, James Arthur. "The last trumpet : a history of the English slide trumpet /." Stuyvesant (N.Y.) : Pendragon Press, 1996. http://catalogue.bnf.fr/ark:/12148/cb402284875.

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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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Wells, Lawrence E. "Construction Applications, Practices, and Techniques of Natural Trumpets: A Comparative Analysis of Baroque and Modern Era Natural Trumpet Construction Methods." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/wells_lawrence_e/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded May 31, 2004, June 6, 2005, Feb. 20, 2006, and June 12, 2006. Includes bibliographical references (p. 65-67).

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Chandler, Paul. "The township trumpet educator." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53180.

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Thesis (MMus) -- Stellenbosch University, 2002.
ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody.
AFRIKAANSE OPSOMMING: GEEN

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Ford, James. "A scientific characterization of trumpet mouthpiece forces in the context of pedagogical brass literature." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5183.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 5, 1999, Nov. 2, 2001, Apr. 8, 2002, and Sept. 24, 2007. Includes bibliographical references (p. 58-61).

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

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

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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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Sajo, Benjamin. "Abandonment for trumpet and orchestra." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114536.

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Abandonment is a 15 minute musical composition for solo trumpet and orchestra programmatically depictive of a protagonist's metaphysical journey through the continent of Abandonment—an archipelago located on Canadian illustrator James Turner's Map of Humanity. The music brings forth the ideas and symbolic associations of abandonment, expressed as a spiritual, transformational heroic journey. The Hero—the solo trumpet anthropomorphized—experiences the archetypal monomythic quest of separation, struggle, and return from and towards the Lost Object—a process analogous to the psychological model of the five stages of grief: denial, anger, bargaining, depression, and acceptance. These stages give their names to the five movements of Abandonment. Drawing further inspiration from mythological, anthropological, and psychological sources, Abandonment's musical discourse—the transformations and permutations of an initial twelve-tone row source—depicts a neo-mythical, deeply symbolic musical narrative of loss and reclamation.
Abandonment est une composition musique du quinze minutes pour trompette soloe et orchestre qui dépeint, selon une programme, un voyage métaphysique à travers le continent d'Abandon—un archipel situé sur la Map of Humanity (Carte de l'Humanité) par l'illustrateur canadien James Turner. La musique évoque et interprète les idées et les associations symbolique de l'abandon, exprimée comme un voyage héroïque de transformation spirituel. Le héros—la trompette soloe anthropomorphizée—éprouve la quête héroïque archétypal de la séparation, de la lutte, et du retour, de et vers l'Objet Perdu-- un processus analogue au modèle psychologique des cinq étapes de la peine: démenti, colère, négociation, dépression, et acceptation. Ces étapes donnent leurs noms aux cinq mouvements de l'Abandonment. Encore inspiré par des sources mythologiques, anthropologiques, et psychologiques, le discours musical de l'Abandonment—les transformations et les permutations d'une première ligne dodécaphonique source-dépeint-- dépeint un récit musical de la perte et une récupération néo--mythiques et profondément symboliques.

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Novotný, Martin. "Zaniklé umění výroby přirozených trumpet." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79362.

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This thesis describes history, construction and production of baroque natural trumpets of Nürnberg type. The first chapter introduces the trumpet development from the very beginning to renaissance. The second one follows baroque natural trumpets, their construction, pitch and way of playing. The third chapter resumes history of trumpet production in Nürnberg, Germany. The last chapter tries to deal with natural trumpet making procedure of all parts.

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Belletti, Anthony. "Trumpet Practice| Habits and Goals." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262372.

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While spending many hours of vigorous practice, it is possible for trumpet musicians to develop bad habits which inhibit growth and discourage their inspiration. In a trumpet player’s daily life, their constant goal is to sound better in their practice routines than the day before. However, without setting realistic goals and dream goals, reaching a level of perfection can be daunting and many fundamental problems may occur such as lipping, tension, or insufficient air flow. Applying goals to everyday practice is essential for the fundamental and musical development of an aspiring trumpet player. According to Claude Gordon, practice should always be done with a goal in mind, just like constructing a tall building. First you dig the trenches. Next the forms are built. Then the cement is poured followed by the floors, sides and finally the roof. Too many students try putting the roof on before the foundation is built.

By examining the many fundamental problems trumpet players potentially face every day, I will express how to efficiently tackle these obstacles by describing how to install good practice habits while having a desired goal in mind. Second, I will discuss how humans are creatures of habit and how it effects daily practice. Alva Noe describes habits as environmental, in the sense that they are triggered by outside forces and they vanish in the absence of the appropriate environmental setting. In the case of practicing, a novice trumpet player might only practice in preparation for an event, instead of maintaining their skills every day. The methodology of trumpet pedagogy and educational studies will supply evidence-based theories on practice and observation, which will illustrate how habits and goal setting effects trumpet routines. I will also partake in field work by practicing and analyzing different trumpet method books.

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Dahlqvist, Reine. "Bidrag till trumpeten och trumpetspelets historia : från 1500-talet till mitten av 1800-talet med särskild hänsyn till perioden 1740-1830 : disputationsupplaga /." Göteborg : [Musikvetenskapliga institutionen, Göteborg], 1988. http://catalog.hathitrust.org/api/volumes/oclc/20295061.html.

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Stoltzfus, Andreas M. "Was There a Trumpet Sonata Before the Trumpet Sonata? an Investigation of Girolamo Fantini’s Trumpet Sonatas with Respect to Other Stile Moderno Solo Instrumental Sonatas." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804954/.

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In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moderno trumpet sonatas.

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Goldman, Casey. "A Pedagogical Guide to the Piccolo Trumpet." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505141/.

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The modern piccolo trumpet is required by professional trumpet players for the performance of solo repertoire, chamber music, orchestra, and wind band. Students in universities around the world study the piccolo trumpet in preparation for professional careers, but relatively few pedagogical tools exist to specifically focus on the nuanced techniques of the instrument such as articulation, range, and sound production. The purpose of this project is to create a pedagogical guide that can serve as a method for students learning the modern piccolo trumpet.

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Jensen, Aaron (Trumpeter). "A Pedagogical Approach and Strategies for the Trumpet Ensemble." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707229/.

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The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

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Wood, James J. "A Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the Two Trumpet Parts." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3593.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Mar. 22, 1999, Nov. 29, 1999, and Sept. 11, 2006. Includes bibliographical references (p. 52-53).

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Evans, Donald Earl. "Concerto for Trumpet and Chamber Ensemble." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc1038898/.

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Concerto for Trumpet and Chamber Ensemble is a three-movement work for solo trumpet and ten instruments, one player to a part, of approximately fourteen minutes in length. It is scored for flute, oboe, clarinet in B-flat, bassoon, piano, percussion, trumpet (solo) in C, violin, viola, cello, and double bass. The principal percussion instrument is xylophone with lesser parts for suspended cymbal and triangle.

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Bosarge, Jonathan Todd. "AN OVERVIEW OF THE PEDAGOGICAL BENEFITS OF TRUMPET ENSEMBLE PLAYING." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274358906.

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Johnson, Carly Jo Lynn. "An annotated collection of twentieth century wind band excerpts for trumpet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117571186.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 137 p.; also includes musical examples. Includes bibliographical references (p. 133-137). Available online via OhioLINK's ETD Center

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Lockard, Douglas Todd. "A stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023556.

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

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.
For two trumpets and chamber ensemble with electronic sounds. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 04, 2009. Includes performances notes. Online version of the print edition.

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Lankford, Jacquelyn 1992. "Language Learning and the Trumpet: Correlations and Advantages of Utilizing Language Learning Techniques in Trumpet Practice and Instruction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505180/.

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The purpose of this document is to examine the effects of learning music similarly to the way humans learn language to answer the following questions: (1) what are the correlations between language learning and music learning? and (2) how can the ideals of language learning be used to maximize the effectiveness of the music learning process? To achieve this, the stages of language acquisition is examined alongside Edwin Gordon's skill learning sequence to draw comparisons between the music and language learning processes. Examined materials include common beginning band method books and trumpet-specific materials. Common problems public school educators face, as well as solutions to those difficulties are addressed. The solutions are concepts inspired by the language learning process that can be utilized to maximize the learning at both the beginning and advanced stages of learning. A beginner level piece ("Lyra" from Trumpet Stars by H.A. Vandercook) and an advanced level piece ("Danse" from Incantation, Threne, and Danse by Alfred Desenclos) are examined thouroughly with these ideals in mind. In order to maximize results of the music learning process, incorporation of language acquisition ideals is necessary not only at the beginning of one's musical journey, but also into the later years of higher-level learning. Through this, a musician can achieve maximum results with any musical endeavor, ultimately presenting the true opportunity for expression through music.

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Murine, Eric R. "A Progressive Guide to Commercial Trumpet Playing." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/13.

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The commercial genre of trumpet playing has been overlooked by educators for years. The goal of this project is to author a book, A Progressive Guide to Commercial Trumpet Playing, to address this issue. Commercial music can be defined as music for the mass consumer audience with the intent to produce monetary profits. This approach will take a student stylistically from blues through the popular music of the 21st century. The ultimate goal of this book is to fill the pedagogical void in trumpet performance study material, providing a more complete foundation for the trumpet performer. Each chapter will deal with a specific commercial genre and will include a brief history, musical examples, etudes, and a duet. This information will show students how to approach a given style through musical listening and performance and will provide a structure for effectively learning each commercial genre. This resource will also provide classical trumpet professors the tools for teaching genres of music with which they may be uncomfortable.

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Ruggiero, Nicole Marie. "Anxiety and Trumpet Performance: An Exploratory Study." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703410/.

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The purpose of this document is to investigate how trumpet students at the University of North Texas experience music performance anxiety and to find out how professors prepare students for controlling music performance anxiety experiences. The interviewees were ten undergraduates and ten graduate students, as well as three trumpet professors who teach at the University of North Texas. The questionnaire responses of the student interviewees were examined, and literature is provided that address the most common performance related psychological and physiological symptoms experienced by the trumpet students. Effective and healthy strategies are discussed that were offered by the trumpet professors, and suggestions are made regarding potential benefits and detriments of trumpet performance anxiety.

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Bloss, Laura. "Natural Trumpet Music and the Modern Performer." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1350316386.

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Cherry, Amy Kristine. "Extended Techniques in Trumpet Performance and Pedagogy." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242326372.

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Parker, Dillon D. "Uncovering Three Trumpet Works of Sofia Gubaidulina." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261524.

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Russian composer Sofia Gubaidulina has composed several pieces for brass, but only three that are exclusively for trumpet. They are Song Without Words, Two Ballads for Two Trumpets and Piano, and Trio for Three Trumpets. These works are not commonly played, but are an important part of the trumpet repertoire, as they were written in a time and place in history which is not well-represented in the field of solo trumpet music. This project report includes analysis of Gubaidulina’s three works for trumpet, as well as biographical information on the composer. The three pieces contrast each other and are different from other works by Gubaidulina from the same period. Together, the Song Without Words, Two Ballads for Two Trumpets, and Trio for Three Trumpets use simple musical ideas to represent three different types of communication: a monologue, a narrative, and a discussion.

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Cherry, Amy K. "Extended techniques in trumpet perfomance and pedagogy." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242326372.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Alan Siebert. Title from electronic thesis title page (viewed July 23, 2009). Includes abstract. Keywords: trumpet; extended techniques; multiphonics; flutter tonguing. Includes bibliographical references.

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Hastings, Todd James. "An orchestral audition preparation tool for aspiring trumpeters /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Burmeister, Amy Marie. "The Solo Trumpet Literature of Jiří Laburda (b. 1931): Compositional and Pedagogical Contributions." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/577354.

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The purpose of this research is to create an awareness of the significant contributions to the solo and chamber trumpet literature made by Jiří Laburda (b. 1931), a twentieth-century composer from the Czech Republic. Laburda has an extensive oeuvre including 22 solo pieces for trumpet and accompaniment, four pieces for two or more trumpets, two collections of trumpet duets, eight brass chamber works including at least one trumpet, and six works for brass quintet. Select pieces by Laburda for trumpet and piano lend themselves to pedagogical uses for the instruction of beginning and intermediate trumpet students, and thus provide a valuable repertory of teaching pieces that could help prepare students to play standard repertory such as the Haydn and Hummel concerti for trumpet. This document provides annotated pedagogical analyses of four compositions by Jiří Laburda including Diarium (a five-volume set of short technical studies for trumpet and piano), Peter with Trumpet, Sonatina for Trumpet, and Sonata for Trumpet. The four works have been selected from various levels of difficulty to illustrate Laburda's method of sequential progression in writing for different stages of the developing trumpet student. Each analysis explains how the composition is of particular value for trumpet students and for what purpose(s) the piece can be used pedagogically. The analyses contain various exercises and suggestions to help students practice and prepare these pieces for performance.

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Thompson, Joshua Ketring. "Libby Larsen's Concerto for Trumpet and Orchestra: an overview and reduction of the orchestral score for trumpet and piano." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1093.

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Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, orchestral and academic communities by way of providing an historical account of the commission project; showing insight into the composer's inspiration for the work; and providing a reduction of the orchestral score for trumpet and piano.

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Lynn, Mark J. "The Avatar by Steve Rouse: A Performance Practice Guide." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31541/.

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The Avatar for trumpet and piano by Dr. Steve Rouse is one of the most challenging compositions in the trumpet repertoire. Due to The Avatar's challenges and increasing popularity, a study is necessary to aid its performance. Each movement is performed on a different instrument: Bb piccolo (with an optional A piccolo part) for Nativity, Bb Flugelhorn for Enigma-Release and Bb trumpet for Rebirth. In addition, the performer must convey one of the work's possible programmatic meanings: (1) The Hindu belief of an Avatar and its life cycle, (2) the life of Christ or (3) the human lifecycle. Chapter 1 gives historical information about the work. Chapters 2-4 discuss each movement of The Avatar programmatically and pedagogically. Facets of each movement are analyzed including differences in programmatic choices, rehearsal techniques and sound concepts. Chapter 5 provides recording suggestions, including choosing a recording engineer, preparing and planning for a recording section, choosing a venue and the benefits of hiring a tonmeister.

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Stoupy, Etienne Denis. "A Performance Guide to the Trumpet Repertoire of Jacques Castérède Focusing on Brêves Rencontres and Concertino for Trumpet and Trombone." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68049/.

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Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.

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Joy, Benjamin Michael. ""Lieder eines fahrenden Gesellen: Transcription for Trumpet Ensemble"." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429789082.

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Hunsaker, Leigh Anne. "An Investigation of Heart Response During Trumpet Playing." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278357/.

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The purpose of this study was to investigate the effects of trumpet playing upon the heart. A Holter monitor was used to record electrocardiograms (ECGs) to examine the heart's response during musical performances and practice sessions.

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McGrattan, Alexander. "The trumpet in Scotland from 1488 to 1800." Thesis, n.p, 1999. http://ethos.bl.uk/.

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Youngs, Marisa B. "THE LANGUAGE OF MUSIC: LINGUISTICS IN TRUMPET PEDAGOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/115.

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For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.

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Bianco, Tommaso. "Gestural control in trumpet performance : experiments and modeling." Paris 6, 2012. http://www.theses.fr/2012PA066143.

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Cette thèse est dédiée à l'étude du jeu de la trompette. En particulier, nous analysons comment les musiciens interagissent avec l’instrument afin de contrôler la production de notes. Notre étude commence par l’analyse de mesures expérimentales effectuées avec des trompettistes. Les résultats sont ensuite utilisés pour modéliser les profils temporels des paramètres mesurés. Ceci nous permet d'élaborer de nouvelles propositions en particulier pour le contrôle de la synthèse sonore basée sur des modèles physiques, vers deux directions. Pour le cas de la composition musicale, nous formulons un cadre visant à générer une partition gestuelle en transformant des unités discrètes, telles que les notes d’une partition musicale, en des profils continus, telles les variables qui pilotent le modèle physique. Pour le cas d’un contrôle en temps réel, nous proposons de nouvelles méthodologies pour le "mapping" entre geste et son pour les interactions avec des interfaces. Dans notre analyse, une attention particulière a été donnée aux aspects du contrôle moteur des mécanismes sous-jacents de l’activité du musicien pour sa production de notes. D’une part, les variations des gestes utilisés pour la production d'une note lors de différents efforts, pour des changements de dynamique ou de vitesse, ont été étudiées et quantifiées. D’autre part, les influences biomécaniques et cognitives qui émergent comme variations dans les profils gestuels lorsque plusieurs notes sont enchainées, ont été évaluées. En plus de contribuer à une meilleure compréhension du comportement humain dans le cas de la performance musicale, et à proposer de possibles outils pour la pédagogie musicale, cette thèse présente également de nouvelles directions pour améliorer le contrôle d'instruments virtuels
This thesis focuses on trumpet performance. In particular, we analyze the way performers interact with the instrument in order to control the production of musical tones. Our study begins by analyzing the experimental measurements of real trumpet players. The results are then employed to model the temporal profiles of the measured parameters. This allows us to elaborate novel strategies for the control of sound – particularly for sound synthesis based on physical models – on two fronts. From a musical composition standpoint, we propose a framework for the generation of a gestural score, that is for the conversion of discrete musical units – the notes – into continuous profiles – the profiles of variables involved in the control of sound. From a real-time control standpoint, we elaborate new methodologies for the mapping between gestures and sound in the case of interaction with physical interfaces. In our research we give particular emphasis to the aspects of motor control that concern the mechanisms underlying musical performance. From on hand, we evaluated the gestural variations for the production of notes with different dynamics and performance rate. From the other hand, we studied the bio-mechanical and cognitive influences that emerge from the gestural profiles when multiple gestural units are serially ordered. Beside contributing to a better comprehension and to possible pedagogical suggestions for the human behavior in musical performance, this thesis also presents novel directions for improving the control of virtual instruments

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Place, Logan. "An analysis and performance guide to William Lovelock's Concerto for trumpet and orchestra." Thesis, connect to online resource. Recital, recorded Apr. 3, 2006, in digital collections. Access restricted to the University of North Texas campus. Recital, recorded Apr. 2, 2007, in digital collections. Access restricted to the University of North Texas campus, 2008. http://digital.library.unt.edu/permalink/meta-dc-9743.

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Lindberg, Olov. "Trumpet är coolt! Eller? : En kvantitativ studie i barns och ungdomars syn på frivillig musikundervisning i trumpet i musik- och kulturskolor." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55413.

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Syftet med denna studie är att beskriva relevansen av och eventuella samband mellan utvalda faktorers inverkan på trumpetelevers val av instrument och på deras fortsatta spelande i musik- och kulturskolor. Detta görs genom att beskriva både vad som påverkat eleverna i deras instrumentval och vad som varit viktigt för deras fortsatta spelande och intresse. Därefter undersöks om det finns några samband mellan dessa viktiga faktorer. Studien undersöker också föräldrars upplevda stöttning och om den har något samband med elevernas övningsfrekvens. Studien försöker dessutom också belysa hur elevernas intresse för sitt instrument ser ut genom att undersöka vissa faktorers relevans i relation till intresset, men också i jämförelse med andra instrument som brukar erbjudas på musik- och kulturskolor. Detta görs genom att både undersöka var intresset kommer ifrån samt hur de upplever att intressegraden ser ut idag jämfört med när de började spela. Tidigare forskning i området har ofta varit inriktad på lärarens perspektiv eller en allmän syn på undervisning. Avsikten med denna studie är dock att undersökningen görs ur elevernas synvinkel. Studien genomfördes utifrån ett positivistiskt kvantitativt förhållningssätt och urvalet består av trumpetelever samt deras föräldrar. Resultatet visar att både trumpetens egenskaper som ljud och klang samt läraren är viktiga faktorer för att elever ska börja spela. Musik- och kulturskolors instrumentprovardagar är också en bidragande faktor. Resultatet visar även att det inte finns några idoler som skapat intresset hos någon av eleverna, utan intresset har snarare kommit från lärare, familj och kompisar. Att ha provat spela trumpet tidigare är också en viktig faktor. En reflektion är att studien kan antyda på att föräldrar kanske underskattar sin egen inverkan på eleverna, både i valet av instrument, men även för det fortsatta intresset.
The purpose of this study is to describe the relevance of the influence and possible correlations of selected factors on trumpet students choice of instrument and their continuous playing at community music schools. This is done by describing both what influenced the students in their choice of instruments, and what was important for their continued interest. Thereafter, any possible correlations between these important factors are examined. The study also examines parents estimated support and whether it has any connection with the students' practice rates. The study also examines students interest in instruments at community music schools by examining the relevance of the impact of certain factors on the interest, but also in comparison with other musical instruments. This is pursued by both uncovering where the interest came from and how they perceive their own interest at present compared to when they started playing. Previous research in this field has often been focused on the teacher's perspective or on a general view of teaching. In contrast, this study should be able to show trumpet students point of view. The study was conducted on the basis of a positivist quantitative approach and the selection consists of trumpet students and their parents. Results show that both the characteristics of the trumpet, for example the sound colour, as well as the teacher, are important factors for students to start playing this instrument. Testing days on music schools are also a contributing factor. Results also provides fact to that there are no idols that created the interest of any of the students, instead the interest has mostly come from teachers, family and friends. Having tried to play the trumpet in the past is also an important factor. A reflection that this study may suggest is that parents may underestimate their own influence on students, both in the choice of instruments, but also for the continued interest.

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Crowden, David. ""Alla tromba della fama" (To the trumpet of fame): the impact of instrumental idiom on vocal performance practice in trumpet arias." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10428.

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Manchester, Cassone, Burkhart and Jacobs, amongst many others, have argued for the commonly accepted theory that the historically informed trumpeter of baroque repertoire should imitate the voice. This is based upon the following statement by author of one of the major historical treatises on playing the trumpet, J.E. Altenburg: ‘It is well known the human voice is supposed to serve as the model for all instruments thus the clarino player should try to imitate it as much as possible, and should seek to bring forth the so-‐‑called cantabile on his instrument’1. There is certainly much evidence which does support this theory, however recent research in neurological science, along with several major treatises like Tosi’s Opinioni de'ʹ cantori antichi e moderni and Quantz’ ‘Versuch einer Anweisung die Flöte traversiere zu spielen’ suggest that around 1700-‐‑30 the best singers are likely also to have matched the character and sound of the instruments with which they were paired. The period 1700-‐‑1730 was a critical one in the developing relationship between instruments and voice in Western music. In particular, the trumpet was at the height of its fame and the Venetian trumpet aria allowed for some of the most breathtaking displays of musicianship and musical flair in the history of opera. Before long, many prominent composers including Handel, Vivaldi, Scarlatti and Albinoni were finding the trumpet aria useful and the trend spread across Europe. This dissertation focuses on how the trumpet aria may have affected the performance in particular of one notable singer, Nicola Grimaldi, known as Nicolini. A selection of arias composed for Nicolini and his contemporaries is used to highlight the predominantly imitative nature of the genre.

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Humphrey, Tim 1957. "The experience of trumpet performance : an amalgam of emic and etic observations in five case studies of professional musicians." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7871.

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Shaffer, Timothy Allen. "Selected excerpts for the trumpet and cornet from the opera repertory : a guide for preparation and performance /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Nyman, Joel. "Övning och kreativ process genom Paradise League." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3988.

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In this essay I present my creative input and development as a musician since fall 2020 and the compositions that has come out of it. Furthermore, I reflect on preparing these songs for my exam concert with my band Paradise League, as well as adding a trumpet synth called EVI (Electric Valve Instrument) to the instrumentation. Having experienced embouchure fatigue and a lack of stamina to follow through with longer sets, I am also pursuing a more effective technique. Hence, I analyze my practice methods and discuss my trumpet teachers, their tools and the effects thereof. Through the combination of fundamental, soloistic and flexibility exercises I developed a more effortless playing style with a wider artistic expression. There were vast technical differences between the EVI and the trumpet. Despite some minor challengers when switching between the two instruments, the EVI opened up a different set of improvisational ideas, broadening my soloistic framework.

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King, Daniel R. "An analysis and comparison of the brass methods by James Stamp, Donald Reinhardt, Carmine Caruso, and Claude Gordon." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1070918203.

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South, James 1957. "References to Trumpet Music in the Battle Chansons of Clement Janequin." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330664/.

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This paper is an examination of the battle chansons of Clement Janequin for references to Renaissance trumpet music. The following issues are addressed: dating the early use of the clarino register; the history and evolution of the courtly trumpet ensemble; and the transition from the shorter trumpet of the Middle Ages to the longer instrument of the middle Renaissance and Baroque eras. Because the earliest Janequin battle chanson predates all known written trumpet sources by over fifty years, musical evidence gleaned from these battle chansons can help to establish the existence and character of trumpet performance practices in the first third of the sixteenth century. The first chapter summarizes all of the known primary sources of information on Renaissance trumpet performance, and identifies important issues worthy of further investigation. The second chapter examines trumpet music and trumpet style in the Renaissance, including trumpet ensemble performance, military trumpet calls, and the imitation of trumpet style in purely vocal music, and contains eight musical examples. The third chapter discusses the battle chansons of Janequin and their influence on other sixteenth-century works. Chapter £our analyzes the battle works of Janequin for allusions to trumpet music and includes eleven musical examples. The fifth and concluding chapter places the musical allusions into the context of trumpet history. The musical references pointed out in these chansons provide the first musical evidence that trumpeters in the early sixteenth century were performing in the clarino register. Clear references to unequal articulation, military calls, characteristic: trumpet rhythms, and to the music of the courtly trumpet ensemble are demonstrated. The chansons also provide evidence of the simultaneous use of trumpets in at least two different keys, probably for two different styles of playing.

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Roseborrough, Andrew Jay. "The Modern Pedagogical Potential of the Baroque Natural Trumpet." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/411.

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Due to a break in its practice and pedagogy during the Classical and Romantic Eras, many misconceptions regarding the Baroque natural trumpet remain today. As newly discovered instruments and pedagogical materials have become known and disseminated, a resurgence in the performance of the natural trumpet has occurred, but its practice is still often conceived as wholly separate from modern trumpet technique. This study clarifies long-held misconceptions about the natural trumpet, describes its physical, pedagogical, and technical traits in comparison with the modern trumpet, and demonstrates that its concurrent practice with the modern trumpet is not only possible, but significantly beneficial. Qualities unique to the Baroque natural trumpet bestow upon it tremendous pedagogical potential for its simultaneous study with the modern trumpet. The possible benefits of this concurrent practice include increased embouchure strength, efficiency and endurance, the elimination of even badly entrenched negative habits, stronger fundamental abilities, and a better understanding of the performance of Baroque trumpet music. The plausibility of these pedagogical gains is evidenced by both modern and Baroque pedagogical literature, the scientific principles behind playing both types of trumpet, and the experiences of professional trumpeters who have demonstrated high levels of proficiency on both instruments.

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Dissertations / Theses on the topic 'Trumpet'

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