Relevant bibliographies by topics / Variations (Trumpet with orchestra)

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

Academic literature on the topic 'Variations (Trumpet with orchestra)'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Variations (Trumpet with orchestra)"

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Carnovale, Norbert, Gunther Schuller, and Robert Waddell. "Concerto for Trumpet and Chamber Orchestra." Notes 43, no. 3 (March 1987): 679. http://dx.doi.org/10.2307/898222.

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Joković, Jelena. "The trumpet in a woman's hand in contemporary Serbian traditional and popular music: The case of the "Danijela" trumpet orchestra from Arilje." New Sound 53, no. 1 (2019): 171–93. http://dx.doi.org/10.5937/newso1901171j.

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Trumpet orchestra "Danijela" belongs to the type of mixed gender orchestra, in which the women is the leader in men surroundings. This orchestra today mainly plays musical arrangements of the popular music, from folk to pop and rock, jazz and Latin. Danijela and her orchestra do not try to copy already existing interpretation, but they are doing their best to give to their music their personal touch in different musical securements, whether formally or in arrangements. Danijela, herself says that there are not essential difference between male and female trumpet orchestra, all, actually, depends on the personal impact. This personal impact is due to the musical education which helped Danijela's orchestra to, especially in harmony and articulation add its style to already existing interpretation. Regarding the performing of tracks which belong, by its style, to the repertoire of southeast Serbia, it is notable, especially in the aspect of articulation and ornaments marching to the style definitions of the trumpet music in West Serbia, which is general equal for all trumpet orchestras in West Serbia, which play the repertoire of the other trumpet places especially southeast Serbia. This ensemble takes part in most different kind of media, which promotes, not only this orchestra, but also the idea of women's leadership, and the fact, also that the women (in this case a young girl) can play the instrument which up to recently, was considered to be only for men. At the very end, we may conclude that today in Serbia there is no more radical difference in gender regarding musical instruments, the epithet 'male' or 'female' is not explicit any more, as it was before when men had priority. Of course, the prejudices still exist, but they are not any more so important and they are easily overcome, especially if performers get good critics from the audience for their work, no matter what instrument is in question.
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Senghor, Léopold S., Melvin Dixon, and Leopold S. Senghor. "To New York (for jazz orchestra and trumpet solo)." Callaloo 13, no. 1 (1990): 18. http://dx.doi.org/10.2307/2931593.

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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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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.
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Cleman, Tom, and Wallingford Riegger. "Variations for Violin and Orchestra." Notes 45, no. 3 (March 1989): 617. http://dx.doi.org/10.2307/940825.

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Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.

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Lv, Fangrui, Donglin Zou, Na Ta, and Zhu-Shi Rao. "Improvement of lubrication performance of water lubricated polymer bearing via enlarged axial end bearing diameter." Industrial Lubrication and Tribology 71, no. 4 (May 7, 2019): 564–72. http://dx.doi.org/10.1108/ilt-09-2018-0332.

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Purpose The purpose of this paper is to improve the lubrication performance of a water-lubricated polymer bearing with axial grooves, especially enlarge the minimum film thickness. Design/methodology/approach The bearing diameter is enlarged near the axial ends of the journal, with axial openings of a trumpet shape. A numerical model is developed which considers the proposed trumpet-shaped openings, bush deformation and grooves. The generatrix of the trumpet-shaped opening is assumed to be a paraboloid. Three different variations are covered, and the influences of the trumpet-shaped openings’ parameters on the bearing performance are analyzed. Findings The appropriate trumpet-shaped openings at the axial ends effectively increase the minimum film thickness, and the impact of trumpet-shaped openings on load carrying capacity is very small or even negligible. For the water-lubricated polymer bearing with axial grooves analyzed in this paper, the appropriate trumpet-shaped openings increase the minimum film thickness from 0.53 to 11.14 µm and decrease the load carrying capacity by 2.48 per cent. Practical implications The results of this study can be applied to marine propeller shaft systems and other systems with polymer bearings. Originality/value This paper has presented an approach for significantly increasing the minimum film thickness of a water-lubricated polymer bearing. A study on the performance improvement of water-lubricated polymer bearings with axial grooves is of significant interest to the research community.
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Riera, Ramon. "Variations for Multidisciplinary Orchestra on a Theme by Schopenhauer." International Journal of Psychoanalytic Self Psychology 4, no. 3 (June 30, 2009): 401–4. http://dx.doi.org/10.1080/15551020902995371.

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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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Dissertations / Theses on the topic "Variations (Trumpet with orchestra)"

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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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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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McDonald, Richard F. (Richard Frederic). "Canonic Variations for Percussion and Orchestra." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc935717/.

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This work in three movements is written for piccolo, flute, alto flute in G, oboe, English horn in F, clarinet in Bb, bass clarinet in Bb, contrabass clarinet in Bb, bassoon, soprano saxophone in Bb, alto saxophine in Bb, horn in F, trumpet in Bb, six percussion, violins, violas, and violoncellos. The approximate duration is thirteen minutes. The rhythm of the piece is notated metrically and spatially. Movements I and III employ both types of notation, while movement II is strictly metric. Most of the percussion instruments used in the first movement are capable of sustaining very lengthy notes. Upon the release of these notes they have equally long, if not longer, decay times. As the aural residue of the envelopes dissipates, the strings and winds are used to extend the decay times. At the same time, the varying timbres provide subtle shifts in color, so that the overall effect is one of a very large instrument able to undergo a kin of internal, timbral metamorphosis. In diametrical contrast, the envelopes of movements II and III are compressed to the point of short, individual attacks.
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Theis, Charles W. "Moment variations: for orchestra and choir." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc332702/.

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Moment Variations is a three-movement composition for chamber orchestra and chamber choir of approximately 21 minutes duration. The basis of this piece is compositional unity through variations technique, where the retained element of the theme is its structure or fixed-structure variations.The fixed-structure is a succession of six musical events, called moments, in the order: I II III II IV V III V VI, where moments II, III, and V are internally repeated and I, IV, and VI occur only once.
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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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Reed, Marc Allen. "An historical and stylistic examination of Charles Chaynes' Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3924/.

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Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconceptions when interpreting these pieces. The thirty-nine year gap between Chaynes' Trumpet Concerto No. 1 and Trumpet Concerto No. 2 is a remarkable time span between major compositions, and examining the works gives insight to the evolution of the trumpet concerto throughout the twentieth century. This project highlights Charles Chaynes' contribution to the trumpet repertoire from both the beginning and end of his compositional career, and fills the research gap concerning his concertos. It includes correspondence with Charles Chaynes and others, in order to gain information not found in common source materials. It highlights examples from each concerto that are representative of the composer's compositional style.
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Treybig, Joel Andrew. "An investigation and analysis of Karel Husa's Concerto for trumpet and wind orchestra /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Smith, Thomas Rodgers. "The use of the trumpet in selected chamber works of Eric Ewazen." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008251.

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Jolley, Jennifer L. "All Grief Empty, The Clear Night Passes." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242510142.

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Winegardner, Brian J. "A Performer's Guide to Concertos for Trumpet and Orchestra by Lowell Liebermann and John Williams." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/520.

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The purpose of this essay is to encourage the study and performance of trumpet concertos written by notable contemporary composers. The essay focuses on two outstanding trumpet concertos composed in recent years: Lowell Liebermann’s Concerto for Trumpet and Orchestra, op. 64 and John Williams’ Concerto for Trumpet and Orchestra. The essay specifically provides the following information: 1) a concise history of the concerto for trumpet, 2) a short biography of Lowell Liebermann and John Williams, 3) the history of Liebermann’s and Williams’ concertos for trumpet, 4) musical analysis of both concertos, 5) a soloist’s practice and performance guide to both works, and 6) a short list of other contemporary trumpet concertos worthy of study. Both Liebermann’s and Williams’ trumpet concertos acknowledge established musical convention, and neither uses any experimental performance techniques. However, both works are written in their own distinctive harmonic language, and each provides its own unique modifications to traditional forms and melodic shapes. Hopefully, this essay will advance the status of Liebermann’s Trumpet Concerto and Williams’ Trumpet Concerto in the history of the trumpet concerto genre and serve as a resource for those who wish to research, study, and perform Liebermann’s Concerto, Williams’ Concerto, or other contemporary trumpet concertos.
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Books on the topic "Variations (Trumpet with orchestra)"

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Husa, Karel. Concerto for trumpet and orchestra. New York, NY: Associated Music Publishers, 1993.

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Zwilich, Ellen Taaffe. American concerto: For trumpet and orchestra. Bryn Mawr, Pa: Merion Music, 1996.

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Riegger, Wallingford. Variations for violin and orchestra. New York: Associated Music Publishers, 1985.

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Tull, Fisher. Rhapsody for trumpet and band or orchestra. [New York]: Boosey & Hawkes, 1988.

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Carnovale, Norbert. Twentieth-century music for trumpet and orchestra. 2nd ed. [United States]: Brass Press, 1994.

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Carnovale, Norbert. Twentieth-century music for trumpet and orchestra. 2nd ed. Nashvile: Brass Press, 1994.

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Argento, Dominick. Fire variations: Eight variations and finale on a blacksmith's worksong, for orchestra. [United States]: Boosey & Hawkes, 1987.

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Bazelon, Irwin. Spires--: Concert piece for trumpet and small orchestra. Bryn Mawr, Pa: T. Presser, 1992.

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Mailman, Martin. Concerto for violin & orchestra: (Variations) op. 68. [United States]: Boosey & Hawkes, 1988.

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Gould, Morton. Classical variations: On colonial themes : for orchestra, 1985. [New York]: G. Schirmer, 1985.

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Book chapters on the topic "Variations (Trumpet with orchestra)"

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Coleman, Bill. "The Clarence Paige Orchestra." In Trumpet Story, 32–41. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09981-8_3.

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Coleman, Bill. "The Lloyd Scott Orchestra." In Trumpet Story, 42–47. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09981-8_4.

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Townsend, Peter. "Orchestral Layout and the Best Concert Seats." In The Evolution of Music through Culture and Science, 221–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0014.

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Orchestras have grown larger over the last 200 years, with more volume, and many new instruments. There are time lags produced between playing and arrival at a seat in the audience. This can produce a disconnect between the visual actions and when the note that is heard. Worse is that notes from different parts of the orchestra, or after reflections, will blur and overlap. The pattern of sound emission differs noticeably between instruments (e.g. for a trumpet, or singer, power is sent forward at high frequencies). Power levels along a row of seats can differ by as much as 1000 times (we hear this power difference as just eight times, as our hearing scale is logarithmic). Understanding this allows us to select the ideal seat if we like particular instrumental sounds.
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Heyman, Barbara B. "Interlude 1958–1960." In Samuel Barber, 440–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0016.

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This chapter focuses on more works of Barber that are dedicated to significant people, places, or events. Wondrous Love was written for the inauguration of the new organ at the Christ Episcopal Church in Grosse Pointe, Michigan. A piano piece, Nocturne, “an homage to John Field,” was premiered by John Browning; infused with elements of Chopin and Debussy, the piece more aptly displays Barber’s own melodic penchants. The chapter also describes Barber’s collaboration with his close friend and former lover Menotti, founder of the Festival dei due Mondi in Spoleto, Italy, for which the couple produced the short opera A Hand of Bridge. The gift of an organ to the Philadelphia Orchestra from Mary Curtis Bok Zimbalist led Barber to create Toccata Festiva, premiered by Paul Callaway. And finally, Die Natali, for a full orchestra, dedicated to Serge and Natalie Koussevitzky, using Christmas carols as thematic material for an ingenious fabric of harmonically colored contrapuntal variations, was performed by the Boston Symphony under Charles Munch and later by the Philadelphia Orchestra conducted by Eugene Ormandy, representing some reconciliation of what had been an uneasy relationship.
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Tarapata-Bilchenko, Lidiya. "MUSICAL DEDICATIONS TO STANISLAV LYUDKEVYCH: DIALOGUE OF PERSONALITIES IN THE SPACE OF CULTURE." In Modern approaches to cultural space and historical knowledge (1st ed.). Primedia eLaunch LLC, 2021. http://dx.doi.org/10.36074/matcsahk.ed-1.05.

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The concept of «musical dedication» as a mean of actualization of the dialogic nature of culture is considered. Musical compositions-dedications to the outstanding Ukrainian composer Stanislav Lyudkevych by the modern Ukrainian composers Valery Kikta, Yevhen Stankovych and Bohdana Filts are interpreted as a dialogue of artists in the space-time of culture. «Romantic Variations on S. Lyudkevych Theme» for harp (1979); «Choral Prelude in Memory of S. Lyudkevych» for male choir on folk texts (1979) by V. Kikta; «Elegy in Memory of S. Lyudkevych» for string orchestra (1979) by E. Stankovych; the vocal cycle «Silver Strings» based on the words of O. Oles (1969) and the piano play «Memory» from the cycle «Musical Dedi-cations» (1993) by B. Filtz are the works which testify to the diversity of creative and human rela-tionships between artists, their communication about universal values, and the important role of ar-tistic communications in the organization of cultural space. It is noted that musical compositions-dedications have a successful mnemonic function, ob-jectify the category of «memory of culture» in sounds, establish semantic and interpretive correla-tions between individuals and their artistic and imaginative ideas. It is emphasized that culture is what is «here and now», it is a way of existence on the crossroad of Present, Past and Future which opens the new horizons of the meaning of human life and creativity.
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