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Journal articles on the topic 'Trumpet'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Campbell, Murray, Arnold Myers, and Michael Newton. "Acoustical behaviour of “baroque” trumpets with vent holes." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A108—A109. http://dx.doi.org/10.1121/10.0026976.

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The trumpets for which baroque composers including Bach and Handel wrote viruoso solo parts were natural (valveless) instruments approximately twice the length of a modern C trumpet. Playing chromatically in the high register of a natural trumpet requires great skill, since only the approximately harmonic resonances of the fixed-length air column are available. In the second half of the twentieth century several makers collaborated with performers to develop variants of the natural trumpet incorporating three or four finger-holes. Such instruments, widely used in modern ensembles playing baroque music, are best described as ‘vented trumpets’. The way in which the finger-holes are used differs from the use of tone-holes on the cornett, the keyed trumpet and the keyed bugle. In general, vented trumpets are designed to approach the timbre of natural trumpets while facilitating control of intonation and accuracy in playing. In the present paper, the acoustical foundations for the function of the three- and four hole systems are explored. The study draws on input impedance measurements, computational modelling, and playing tests of typical vented and natural trumpets. Parameters quantifying the timbre of vented trumpets are compared with corresponding values for natural trumpets.

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2

Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.

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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.

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3

Horez, Iulian. "16. Trumpet and Orchestra Concert in D Major by Georg Philipp Telemann in Interpretation Vision of Wynton Marsalis and Rafael Méndez." Review of Artistic Education 19, no. 1 (April 1, 2020): 134–39. http://dx.doi.org/10.2478/rae-2020-0016.

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AbstractLike most baroque concerts, the Concerto for trumpet and orchestra in D major by Georg Philipp Telemann raises particular problems of interpretation. It is a concert written in the head register of the trumpet, with frequent references in the acute register. I should mention that the head register of a trumpet depends on its size. At a normal trumpet in and flat (and not piccolo), the acute register is from do (and flat from the first octave) to the next do ascendant. The head register continues from do2 to do3. In the trumpets in do, re, mi flat, fa, sol, the principle remains the same, with a variability depending on the size of the trumpet, except that in the acute record the other notes correspond to that of the flat, but the upper limit is generally the same.

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4

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

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This article discusses the augmentation of acoustic musical instruments, with a focus on trumpet augmentation. Augmented instruments are acoustic instruments onto which sensors have been mounted in order to provide extra sonic control variables. Trumpets make ideal candidates for augmentation because they have spare physical space on which to mount electronics and spare performer “bandwidth” with which to interact with the augmentations. In this article, underlying concepts of augmented instrument design are discussed along with a review and discussion of twelve existing augmented trumpets and five projects related to mouthpiece augmentation. Common aspects to many of these examples are identified, such as the prevalence of idiosyncratic designs, the use of buttons placed at or near the left-hand playing position, and the focus on measuring or mimicking trumpet valves. Three existing approaches to valve sensing are compared, and a novel method for sensing valve position, based on linear variable differential transformers, is introduced. Based on the review and comparison, we created an example augmented trumpet that tests the feasibility of a modular design paradigm. The results of this review of the state-of-the-art and our own research suggests future directions towards a better understanding of augmented trumpet design.

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5

Zdrodowska, Magdalena. "Życie po życiu wiktoriańskiej techniki. Trąbki słuchowe w XX i XXI wieku." Przegląd Kulturoznawczy, no. 3 (45) (2020): 153–73. http://dx.doi.org/10.4467/20843860pk.20.021.12581.

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Victorian ear trumpets in XX and XXI century Throughout the 19th century ear trumpets became the most popular and in fact the only technical solution for deaf people. They merged with the behavior regarded as typical for the deaf such as misinterpretations and communicational loss, therefore ear trumpets turned into a social stigma. They became objects that were bashfully hidden by users. In the 20th century however ear trumpets’image as well as functions changed as they were substituted with modern, electric and later electronic hearing prostheses. Once ear trumpets became antiquated their place in the technological landscape have changed. They did not vanish but relocated within the social and cultural domain. Article is based on: object oriented analysis of ear trumpets, interview with the ear trumpet collector, discourse analysis of the ear trumpet advertisements documents from British National Archives and The Thackray Museum in Leeds.

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6

Fragos, Emily. "Trumpet." Yale Review 108, no. 2 (2020): 9. http://dx.doi.org/10.1353/tyr.2020.0097.

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7

King, Bruce, and Jackie Kay. "Trumpet." World Literature Today 73, no. 4 (1999): 736. http://dx.doi.org/10.2307/40155148.

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8

Hairston, Alena. "Trumpet." Callaloo 29, no. 2 (2006): 691–93. http://dx.doi.org/10.1353/cal.2006.0098.

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9

Fragos, Emily. "Trumpet." Yale Review 108, no. 2 (July 2020): 9. http://dx.doi.org/10.1111/yrev.13618.

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10

Suresh, D., J. O’Gallagher, and R. Winston. "A Heat Transfer Analysis for Passively Cooled “Trumpet” Secondary Concentrators." Journal of Solar Energy Engineering 109, no. 4 (November 1, 1987): 289–97. http://dx.doi.org/10.1115/1.3268220.

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Some practical questions associated with the use of hyperboloidal “trumpet” shaped terminal concentrators for use in solar thermal applications are addressed. Computer ray-trace calculations show that the flux distribution is strongly peaked over a small neck area at the exit of the trumpet, which will be subjected to a substantial thermal load. A quasi-transient heat transfer model has been developed to analyze the thermal behavior of passively cooled trumpets. The thermal analysis shows that simple techniques exist such that one can design passive secondary trumpets which will remain below safe temperature limits under normal operation for many applications. The wall thickness and its variation along the body of the bell-shaped shell from the exit are found to play an important role in controlling the temperature at all flux levels. As a check on the validity of the model, a set of electrical simulation experiments was conducted and excellent agreement was found.

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11

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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12

Kwasi Gbagbo, Divine, and John Doe Dordzro. "From Tradition to Innovation: The Incorporation of Trumpet in Bɔbɔɔbɔ (Borborbor) Dance of The Ewe People." International Journal of Arts, Humanities & Social Science 05, no. 07 (July 12, 2024): 23–34. http://dx.doi.org/10.56734/ijahss.v5n7a4.

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This article explores the emergence and evolution of bɔbɔɔbɔ (borborbor), a distinctive Ewe dance that originated in mid 20th century British Togoland (now the Volta Region of Ghana) and French Togoland (now Togo). Initially rooted in traditional kokomba dance forms, particularly tuidzi and akpese, bɔbɔɔbɔ rapidly integrated European military brass band instruments, notably the bugle and later the trumpet, influenced by the burgeoning popular music genre of highlife in Ghana. Drawing on ethnographic research conducted in Ewe communities in Ghana, this paper examines the transformative role of the trumpet within bɔbɔɔbɔ ensembles. It investigates how the trumpet’s adoption led to its unique interpretative functions, including improvised obbligatos, sampling of familiar tunes, and enhancing the rhythmic and percussive dynamics of performances. Ultimately, this study illuminates the process of indigenization of the trumpet within bɔbɔɔbɔ, highlighting themes of adoption, assimilation, and reinterpretation in the evolution of this vibrant musical tradition

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13

Fuchs, Evelyn, Veronika C. Beeck, Anton Baotic, and Angela S. Stoeger. "Acoustic structure and information content of trumpets in female Asian elephants (Elephas maximus)." PLOS ONE 16, no. 11 (November 23, 2021): e0260284. http://dx.doi.org/10.1371/journal.pone.0260284.

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Most studies on elephant vocal communication have focused on the low-frequency rumble, with less effort on other vocalization types such as the most characteristic elephant call, the trumpet. Yet, a better and more complete understanding of the elephant vocal system requires investigating other vocalization types and their functioning in more detail as well. We recorded adult female Asian elephants (Elephas maximus) at a private facility in Nepal and analyzed 206 trumpets from six individuals regarding their frequency, temporal and contour shape, and related acoustic parameters of the fundamental frequency. We also tested for information content regarding individuality and context. Finally, we recorded the occurrence of non-linear phenomena such as bifurcation, biphonation, subharmonics and deterministic chaos. We documented a mean fundamental frequency ± SD of 474 ± 70 Hz and a mean duration ± SD of 1.38 ± 1.46 s (Nindiv. = 6, Ncalls = 206). Our study reveals that the contour of the fundamental frequency of trumpets encodes information about individuality, but we found no evidence for trumpet subtypes in greeting versus disturbance contexts. Non-linear phenomena prevailed and varied in abundance among individuals, suggesting that irregularities in trumpets might enhance the potential for individual recognition. We propose that trumpets in adult female Asian elephants serve to convey an individual’s identity as well as to signal arousal and excitement to conspecifics.

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14

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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15

Freeman-Attwood, Jonathan. "Trumpet Menu." Musical Times 132, no. 1776 (February 1991): 81. http://dx.doi.org/10.2307/966604.

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16

Gorham, Charles J., Edward Tarr, and S. E. Plank. "The Trumpet." Notes 48, no. 2 (December 1991): 518. http://dx.doi.org/10.2307/942063.

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17

Rycroft, David, M. T. Wright, Edward Tarr, and S. E. Plank. "The Trumpet." Galpin Society Journal 44 (March 1991): 185. http://dx.doi.org/10.2307/842241.

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18

Placek, Robert W., William R. Higgens, and David B. Williams. "Micro-Trumpet." Music Educators Journal 72, no. 2 (October 1985): 20. http://dx.doi.org/10.2307/3396546.

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19

Patrick, James, Bill Coleman, Sammy Price, Caroline Richmond, Bob Weir, William Oscar Smith, Dizzy Gillespie, Rex Stewart, and Claire P. Gordon. "Trumpet Story." American Music 12, no. 2 (1994): 206. http://dx.doi.org/10.2307/3052529.

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20

Dufour, Ronald P., and Bill Coleman. "Trumpet Story." MELUS 20, no. 2 (1995): 169. http://dx.doi.org/10.2307/467634.

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21

Setz, C. "Ostrich Trumpet." Literary Imagination 14, no. 1 (November 29, 2011): 83. http://dx.doi.org/10.1093/litimag/imr127.

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22

Holmes, Brian W. "Demonstration trumpet." American Journal of Physics 53, no. 5 (May 1985): 504–5. http://dx.doi.org/10.1119/1.14217.

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23

Williams, Nancy Compton. "Trumpet Vine." Appalachian Heritage 29, no. 3 (2001): 4. http://dx.doi.org/10.1353/aph.2001.0029.

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24

Dence, Thomas. "Trumpet Curve." Math Horizons 22, no. 3 (February 2015): 2. http://dx.doi.org/10.4169/mathhorizons.22.3.2.

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25

O'Hare, F., A. W. Turner, J. G. Crowston, and D. Ehrlich. "Trumpet tension." Case Reports 2009, apr07 2 (April 14, 2009): bcr1220081301. http://dx.doi.org/10.1136/bcr.12.2008.1301.

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26

Corte, Lucia, Lathan Liou, Paul F. O’Reilly, and Judit García-González. "Trumpet plots: visualizing the relationship between allele frequency and effect size in genetic association studies." Gigabyte 2023 (September 1, 2023): 1–10. http://dx.doi.org/10.46471/gigabyte.89.

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Recent advances in genome-wide association and sequencing studies have shown that the genetic architecture of complex traits and diseases involves a combination of rare and common genetic variants distributed throughout the genome. One way to better understand this architecture is to visualize genetic associations across a wide range of allele frequencies. However, there is currently no standardized or consistent graphical representation for effectively illustrating these results. Here we propose a standardized approach for visualizing the effect size of risk variants across the allele frequency spectrum. The proposed plots have a distinctive trumpet shape: with the majority of variants having high frequency and small effects, and a small number of variants having lower frequency and larger effects. To demonstrate the utility of trumpet plots in illustrating the relationship between the number of variants, their frequency, and the magnitude of their effects in shaping the genetic architecture of complex traits and diseases, we generated trumpet plots for more than one hundred traits in the UK Biobank. To facilitate their broader use, we developed an R package, ‘TrumpetPlots’ (available at the Comprehensive R Archive Network) and R Shiny application, ‘Shiny Trumpets’ (available at https://juditgg.shinyapps.io/shinytrumpets/) that allows users to explore these results and submit their own data.

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27

Horez, Iulian. "16. Sinfonia Avanti Il Barcheggio by Alessandro Stradella in Interpretations of the Trumpeters Iulian Horez and Miroslav Kejmar." Review of Artistic Education 21, no. 1 (June 1, 2021): 133–38. http://dx.doi.org/10.2478/rae-2021-0016.

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Abstract Alessandro Stradella is a lesser-known composer in trumpet works. However, the Sinfonia avanti il Barcheggio is of great beauty and is written perfectly trumpet. The original is composed for trumpet in C, but the key of D major in which the concerto played with trumpet in C is written poses the biggest tuning problems. For this reason, I recommend for this concert a trumpet in A. The tuning will be much better, it will be played in F major, the natural notes of the trumpet will be used a lot (C, E, G).

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28

Fiqriannur, Ibnu Syahruroji. "CONCERT ETUDE TRUMPET KARYA ALEXANDER GEODICKE (ANALISIS TEKNIK PERMAINAN TRUMPET)." Repertoar Journal 1, no. 1 (July 29, 2020): 36–48. http://dx.doi.org/10.26740/rj.v1n1.p36-48.

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Concert Etude Trumpet bertempo 152bpm. Nuansa lagu ini bersifat Lincah dan Tegang. Kemudian untuk dapat memainkan lagu ini terdapat teknik yang harus dikuasai oleh pemain Trumpet anatara lain Double Tounging, Slur, Legatto, Stacatto. Lagu ini mendominasikan pada teknik Double Tounging. Karya ini telah dimainkan oleh pemain Trumpet ternama, yakni Alison Balsom. Tujuan penelitian ini (1) Untuk mengetahui teknik permainan Trumpet lagu Concert Etude Trumpet. (2) Untuk mengetahui bagian-bagian didalam lagu Concert Etude Trumpet. Teknik pengumpulan data menggunakan reduksi data, penyajian data teks naratif dan penarikan kesimpulan. Hasil penelitian ini, Tema melodi yang diulangi dan dibikin beberapa variasi dan muncul di beberapa bagian selanjutnya. Teknik yang digunakan, Double Tounging, Ambasir, Tone Colour

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29

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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30

Tomes, Frank. "Flat Trumpet Experiments." Galpin Society Journal 43 (March 1990): 164. http://dx.doi.org/10.2307/842488.

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31

Webb, John. "The Billingsgate Trumpet." Galpin Society Journal 41 (October 1988): 59. http://dx.doi.org/10.2307/842708.

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32

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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33

Kochetkov, Yu, T. Kravchik, and A. Protopopov. "Famous trumpet effects." IOP Conference Series: Materials Science and Engineering 779 (April 24, 2020): 012031. http://dx.doi.org/10.1088/1757-899x/779/1/012031.

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34

MONTAGU, JEREMY. "Sounding the trumpet." Early Music XIX, no. 1 (February 1991): 153–55. http://dx.doi.org/10.1093/earlyj/xix.1.153.

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35

Hwang, Shih M. "Trumpet horn speaker." Journal of the Acoustical Society of America 83, no. 1 (January 1988): 408. http://dx.doi.org/10.1121/1.396170.

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36

Crowe, William J. "An Uncertain Trumpet." Journal of Library Administration 36, no. 3 (January 10, 2002): 73–80. http://dx.doi.org/10.1300/j111v36n03_07.

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37

Arnold, M. "The rectal trumpet." Journal of WOCN 30, no. 6 (November 2003): 289. http://dx.doi.org/10.1016/s1071-5754(03)00432-7.

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38

Hastings, John H. "Valveless trumpet instrument." Journal of the Acoustical Society of America 78, no. 4 (October 1985): 1455. http://dx.doi.org/10.1121/1.392815.

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39

Grogan, Tracy A., and David J. Kramer. "The Rectal Trumpet." Journal of Wound, Ostomy and Continence Nursing 29, no. 4 (July 2002): 193–201. http://dx.doi.org/10.1097/00152192-200207000-00008.

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40

Arnold, Mary. "THE RECTAL TRUMPET." Journal of Wound, Ostomy and Continence Nursing 30, no. 6 (November 2003): 289. http://dx.doi.org/10.1097/00152192-200311000-00002.

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41

Keller, Jindrich. "Antique Trumpet Mutes." Historic Brass Society Journal 2 (1990): 97–103. http://dx.doi.org/10.2153/0119900011004.

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42

Pinckney Benedict. "The Angel’s Trumpet." Appalachian Heritage 38, no. 1 (2009): 25–39. http://dx.doi.org/10.1353/aph.0.0229.

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Diamandis, Eleftherios P. "Playing the Trumpet." Clinical Chemistry 57, no. 12 (December 1, 2011): 1789. http://dx.doi.org/10.1373/clinchem.2011.175828.

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Nicholson, G. "The unnatural trumpet." Early Music 38, no. 2 (May 1, 2010): 193–202. http://dx.doi.org/10.1093/em/caq026.

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BOWLES, EDMUND A. "Blowing a trumpet." Early Music XVIII, no. 2 (May 1990): 350—b—351. http://dx.doi.org/10.1093/em/xviii.2.350-b.

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Marcus, Jonathan. "A distant trumpet." Washington Quarterly 22, no. 3 (September 1999): 5–10. http://dx.doi.org/10.1080/01636609909550401.

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CORTEZ, JAYNE. "MILES DAVIS TRUMPET." International Jazz Archive Journal 01, no. 2 (October 1, 1994): 125–27. http://dx.doi.org/10.2307/44758697.

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Myers, Arnold, and Art Brownlow. "The Last Trumpet: A History of the English Slide Trumpet." Galpin Society Journal 51 (July 1998): 242. http://dx.doi.org/10.2307/842790.

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Lessen, Martin, and Art Brownlow. "The Last Trumpet: A History of the English Slide Trumpet." Notes 54, no. 2 (December 1997): 484. http://dx.doi.org/10.2307/899543.

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Klavan, Spencer A. "Martem Accendere Cantu: The Meaning of Music on the Battlefield." Greek and Roman Musical Studies 7, no. 2 (August 20, 2019): 213–34. http://dx.doi.org/10.1163/22129758-12341347.

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Abstract:

Abstract This paper examines in detail an under-appreciated passage from Philodemus of Gadara’s On Music in order to elucidate several important controversies in Hellenistic musical philosophy. The Stoic Diogenes of Babylon claimed that the emotional impact of trumpet tunes can inspire soldiers to fight. But the Epicurean Philodemus believed that the meaningful words (λόγοι) which stimulate our actions are utterly distinct from meaningless musical sound (µουσική). Philodemus therefore framed an alternative theory in which trumpet calls on the battlefield function not as music but as a kind of makeshift language, using conventional signifiers to communicate instructions. I show how both philosophers’ views arise logically out of doctrines from their respective schools. I then argue that the trumpet’s dual status as both performance instrument and communications device makes it a natural philosophical flashpoint: it raises central questions about what music is, how it affects listeners, and whether it can convey meaning.

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