Dissertations / Theses: '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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Wong, Mohamed Najib. "A COMPREHENSIVE GUIDE TO TRUMPET ORCHESTRAL EXCERPTS: AN ANALYSIS OF EXCERPTS BY BARTÓK, BEETHOVEN, MAHLER, AND MUSSORGSKY." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/469065.

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Music Performance
D.M.A.
Orchestral excerpts have become one of the most, if not the most important component of classical trumpet education in the last 50 years. This monograph discusses how trumpet orchestral excerpts grew in importance and how the demand for it catalyzed a rush for publications. As the number of trumpet players grew exponentially more than the supply of orchestral jobs, the mindset toward perfect performances of these excerpts began to narrow the focus of learning to an emphasis on technical proficiency. Context and the understanding of how the trumpet part relates to the other instruments in the orchestra are relegated in priority. This monograph aims to restore a holistic and comprehensive approach to learning with an in-depth analysis of harmony, compositional techniques, and historical and musical contexts.
Temple University--Theses

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Chang, Sangtae. "The Sonatas of Domenico Gabrielli (1651-1690) in San Petronio MSS G.I: 3-9." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500373/.

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Domenico Gabrielli's seven trumpet sonatas are among seventeenth-century trumpet repertoire predominant in the instrumental tradition of the basilica San Petronio, which flourished roughly from the election of Maurizio Cazzati as maestro di cappella in 1657 until the dissolution of the orchestra of the church in 1695. Fostered by numerous occasions for performance, the Bolognese trumpet works tend to exhibit a uniform musical style imposed by musical academies. After a discussion of the probable cause of the termination of the instrumental tradition and of the role of musical academies, this paper will be primarily concerned with formal aspects of fast movements of Gabrielli's sonatas. Despite the fact that the predominant organizing principle of the fast movements appears to be textural, a step toward ritornello form is taken in some of the movements, in which tutti and solo sections are independently developed. In particular, the recurrence of identical material in tutti confirming different keys, the thematic relation between tutti and solo, and the symmetrical and balanced tonal plan are unmistakable seeds of full ritornello form. The text is followed by critical notes and transcriptions of the seven sonatas.

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Adamson, Daniel. "A Comparative Analysis of Haydn's Horn Concerto and Trumpet Concerto." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862771/.

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Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently marked by a loosening of compositional constraints, including freer formal procedures, instrumentation, harmonic structures, and an increase in chromaticism (aided by the new chromatic abilities of the trumpet). This document provides an in-depth comparative analysis within an often overlooked genre of music and gives insight into changes in Haydn's compositional style and the concerto genre.

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Dissenha, Fernando Luis. "Os trompetistas e o repertório da Osesp nas temporadas de concerto de 1977 a 1980." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07072017-142440/.

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Os primeiros anos da Orquestra Sinfônica do Estado de São Paulo (Osesp) foram marcados pela instabilidade administrativa, o que impossibilitava, à época, a existência de uma programação de concertos. Com a chegada de Eleazar de Carvalho, em 1973, a Osesp inicia a estruturação de suas temporadas regulares, e uma das iniciativas foi a implementação de ciclos com obras de um mesmo compositor. Em 1977, foi apresentado o ciclo Beethoven, seguido de outros que deram destaque a Schubert, Tchaikovsky, Brahms, Wagner, culminando, em 1980, com o ciclo de obras de Gustav Mahler. A pesquisa documental nos arquivos da orquestra revelou também que houve mudanças no conteúdo dos programas de concerto, que passaram a exibir informações detalhadas ao público da orquestra. Essa nova proposta de, progressivamente, aumentar os desafios técnicos e artísticos por meio dos repertórios, teve consequências na forma de preparação, escolha de equipamento e atuação dos músicos da Osesp. Esta tese propõe, referenciada pela teoria dos \"mundos da arte\", de Howard Becker, identificar os trompetistas que atuaram na Osesp, quais os processos que utilizaram para executar os repertórios e, por fim, contextualizar a importância das temporadas de 1977 a 1980, na trajetória musical da Osesp.
The early years of the São Paulo State Symphony Orchestra (Osesp) were marked by administrative instability, which made it impossible at the time to have concert seasons. In 1973, when maestro Eleazar de Carvalho came to São Paulo, Osesp starts the structuring of its regular seasons, and one of the initiatives was the implementation of cycles of works by the same composer. In 1977, Beethoven\'s cycle was presented, followed by others that gave prominence to Schubert, Tchaikovsky, Brahms, Wagner, culminating in 1980, with the Gustav Mahler\'s cycle. The documentary research at the orchestra\'s archives also revealed that there were changes in the content of the concert programs, which began to show detailed information to the audience of the orchestra. This new proposal to progressively increase the technical and artistic challenges through repertoires had consequences in the way of preparation, choice of equipment and performance of Osesp\'s musicians. This thesis proposes, using Howard Becker\'s theory of the \"art worlds\", to identify the trumpet players who performed at Osesp, the processes they used to execute the repertoires and, finally, to contextualize the importance of the seasons from 1977 to 1980, to the Osesp\'s musical path.

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Wacker, John Mainard. "An examination of the influence of selected works of Franz Schmidt on the Concerto for trumpet and orchestra and the Sonata for trumpet and piano by Karl Pilss." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9015.

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Arno, Elizabeth Mary Catherine. "Out of the depths : utterances of profundity in Schoenberg's Variations for Orchestra, Op. 31." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269726.

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Phillips, Edward. "Mozartean gesture and rhetoric in Hummel's Concerto for trumpet." Thesis, Recital, recorded June 13, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6062.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).

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Monroe, Jonathan. "A Selection of Nineteenth Century Trumpet Literature for Low F Trumpet: A Performance Edition of F.G.A. Dauverné's Variations op. 3 and Amilcare Ponchielli's Concerto per Tromba e Banda op. 123." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984202/.

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This dissertation presents a performance guide of two solos for early valved trumpet, as well as an appraisal of their historical significance. The first of these solos is F. G. A. Dauverné's Variations pour trompette à pistons avec accompagnement de Piano-forte, op. 3 (1833). The second solo examined is Amilcare Ponchielli's Concerto per Tromba e Banda, op. 123 (1866). Although Ponchielli's work dates from only the middle of the century, by time of its composition the valved trumpet had already been developed enough to have attained true artistic value. This dissertation provides evidence concerning the evolution of nineteenth solo literature for the Romantic trumpet by means of formal analysis in regard to form, harmony, and historical performance practice.

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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.

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Taylor, Robert Louis. "The Role of Analysis and Comparison in the Performance of Selected Single-Movement Compositions for Trumpet and Piano by Joseph Turrin with an Interview of the Composer, a Lecture Recital, Together with Three Recitals of Selected Works by Handel, Honegger, Tomasi, and Others." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/taylor%5Frobert%5Flouis/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 5 recitals, recorded July 1, 1996, June 22, 1998, June 24, 2002, Sept. 8, 2003, and Oct. 27, 2005. Includes bibliographical references (p. 56).

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Bedont, Robert James. "The Creation of a Performance Edition and Piano Reduction of Justus Johann Friedrich Dotzauer's VIII Variations for Bassoon and Orchestra, Op. 40." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311590.

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A review of the published music for solo bassoon suggests that there is relatively little solo literature for the instrument that dates from the late eighteenth and early nineteenth centuries. This document focuses on the creation of a modern performance edition and piano reduction of a recently uncovered work for solo bassoon and orchestra by Johann Dotzauer, VIII Variations for Bassoon and Orchestra, Op. 40 (originally published by Freiderich Hoffmeister Musikverlag in 1817).A comparison of Dotzauer's work with a comparable published work by Anton Reicha, reveals that the two works are similar in their treatment of phrase structure, form, harmonic and melodic language, range, and solo passagework. This comparison has shown that Dotzauer's piece is representative of the type of writing for solo bassoon that skilled composers employed in the early nineteenth century. Through the editing process, errors and inconsistencies found in the newly-uncovered Hoffmeister Edition of VIII Variations such as corrections to pitches and notation, articulation markings, dynamic markings, and other changes have been corrected in a manner that both reflects the integrity of the Hoffmeister Edition and adds clarification for those who will perform the work. VIII Variations for Bassoon and Orchestra, Op. 40 by Johann Dotzauer, is a well-crafted composition for solo bassoon that will help fill a void in the literature for bassoon now that it is more accessible through the creation of a new performance edition and piano arrangement.

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Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.

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Foster, Christopher C. "An examination of music for trumpet and marimba and the Wilder Duo with analyses of three selected works by Gordon Stout, Paul Turok, and Alec Wilder." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5182.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 21, 2004, June 13, 2005, Mar. 27, 2006, and Sept. 21, 2007. Includes bibliographical references (p. 141-143).

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Sigurjonsson, Njorour. "Variations on the act of listening, Twenty-one orchestra audience development events in light of John Dewwy's art as experience metaphor." Thesis, City University London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516145.

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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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Bark, Jamil Mamedio 1964. "Variações para fagote e orquestra de Alceo Bocchino : estudo analítico e interpretativo." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284985.

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Orientador: Mauricy Matos Martin
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T04:27:50Z (GMT). No. of bitstreams: 1 Bark_JamilMamedio_M.pdf: 18908239 bytes, checksum: 311473bf0005a81afba812f42e81476b (MD5) Previous issue date: 2015
Resumo: O presente trabalho tem como principal objetivo realizar um estudo analítico e interpretativo das Variações para Fagote e Orquestra de Alceo Bocchino. Para introduzir e contextualizar a pesquisa, apresenta no Capítulo I levantamento biográfico da vida do compositor e do intérprete Noël Devos, a quem a peça foi dedicada, e considerações sobre o Fagote e a forma `Tema e Variações¿. O Capítulo II focaliza a obra. Inicialmente apresenta o contexto histórico da composição e da orquestração, e considerações sobre análise, interpretação e performance. Segue com a análise musical da obra através das técnicas desenvolvidas por Arnold Schoenberg, Wallace Berry e Joaquín Zamacois, e com o estudo interpretativo a partir da abordagem de Sonia Albano de Lima. Do estudo analítico-interpretativo são levantadas informações a respeito da linguagem utilizada na composição, relações recorrentes entre as Variações, bem como sobre a utilização de elementos específicos da técnica do fagote. De acordo com essa investigação analítica, estão indicadas sugestões sobre a execução da obra, apontando aspectos relevantes da interpretação. A conclusão reúne informações essenciais obtidas da análise efetuada, da entrevista realizada com o compositor e com o intérprete no Rio de Janeiro, e de suas orientações a respeito da execução da obra. Em anexo se encontram a partitura editada e revisada, a transcrição da entrevista e a gravação do DVD da obra, todas realizadas pelo autor desta pesquisa
Abstract: The main objective of the present research is to develop an analytical and interpretative study of Variations for Bassoon and Orchestra by Alceo Bocchino. For the sake of contextualization, presents in Chapter I biographical data of the composer and of the performer Noël Devos - whom the piece was dedicated -, aspects of the Bassoon and of the form 'Theme and Variations'. Chapter II focuses on the piece proper. Initially presents the composition and orchestration¿s historical context, followed by features of musical analysis, interpretation and performance. The Analysis of the piece is based on the techniques developed by Arnold Schoenberg, Wallace Berry and Joaquín Zamacois, and on the interpretative study of Sonia Albano Lima¿s approach. The aim of the analytical and interpretative study is to provide information about the compositional language, recurrent relations between the Variations, as well as to indicate the use of specific elements of the bassoon technique. According to this analytical research, there are suggestions concerning the performance of the piece, pointing to relevant aspects of interpretation. The conclusion gathers the most prominent information acquired from the overall Analysis of the work and from the complementary interview with the composer and the performer in Rio de Janeiro, and their guidelines regarding the performance of this piece as well. As appendixes, there are the edited and revised score, the interview¿s transcription and the DVD recording of the piece, all of them held by the author of this research
Mestrado
Praticas Interpretativas
Doutor em Música

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Cook, Jesse P. "Doctoral thesis recital (trumpet)." Thesis, 2012. http://hdl.handle.net/2152/19233.

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"Rapsodia Camaleónica: A Concerto for Piano, Trumpet and Orchestra." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14797.

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abstract: This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.
Dissertation/Thesis
D.M.A. Music 2012

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Zajicek, Daniel. "Grand Variations for large orchestra." Thesis, 2012. http://hdl.handle.net/1911/64666.

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Grand Variations is a work for large orchestra built on an original theme and six variations. My primary concerns when composing were communication, continuity, and distortion. To musically communicate an idea repetition is essential, and the type of repetition presented in theme and variations provided what I was looking for. In addition, the fact that the theme will be repeated over and over leads to a built in continuity. The final concern, distortion, may be achieved by pulling away from a more straightforward presentation of the thematic material. Two additional elements played a large role in the work—cyclic forms, and quantum physics. The composition Déserts by Edgard Varese, and the jazz work Nefertiti by Wayne Shorter, both contain strong cyclic features. Nefertiti uses the same melody repeated over and over, while Déserts, on the other hand, repeatedly presents the same musical gestures, and sound objects, but with slight changes to achieve its own cyclic sound world. These two works framed the way that I approached variations, yet are at odds with each other. Through my reading of quantum physics, I found a way to join the two into a working structure, and the book, The Grand Design, by Stephen Hawking and Leonard Mlodinow, helped me to do it. Because of this, I decided early on to honor that influence, and the title Grand Variations reflect that.

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Sun, Yungshou, and 孫永守. "A study on G. Torelli's Concerto in D Major for Trumpet and Orchestra and J. Haydn's Concerto in E-flat Major for Trumpet and Orchestra." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/27893650313058808776.

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CHEN, YEN-WEI, and 陳彥維. "The Analysis and Interpretation of Joseph Haydn Concerto for Trumpet and Orchestra." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7g4hse.

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碩士
國立臺灣藝術大學
音樂學系
108
Joseph Haydn’s (1732-1809) “Trumpet Concerto in E flat” was written in 1796, a work in his later years, the last work in his life as well. It was written for his friend Anton Weidinger(1766-1852), an Austrian trumpet virtuoso.Weidinger improved a nature trumpet by adding holes and five keys, which made it able to play harmonic or chromatic notes, other than those only in A or D scales.This improvement had been touching discussions among musicians. The concerto had been disappeared from sight until discovered and published 100 years later, when people realized “Trumpet Concerto in E flat” is so significant in the history of trumpets. Weidinger’s improved trumpet conduced to Haydn’s “Trumpet Concerto in E flat”, and again later Johann Nepomuk Hummel’s (1778-1837) Trumpet Concerto in E major. Haydn’s and Hummel’s Trumpet Concertos are both ones of common scales in competitions, orchestra exams and concerts.Weidinger’s improved trumpet is replaced with current one at last. Howerver, keyed trumpets and works are still valuable in history of trumpets.

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黃盈綺. "The Analysis and Interpretation of Alexandra Pakhmutova Concerto for Trumpet and Orchestra." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/02280075858529112440.

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HO, MING-TZE, and 何敏慈. "The Analysis and Interpretation of Concerto for Trumpet and Orchestra by Alexander Arutiunian." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/a333hg.

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碩士
實踐大學
音樂學系碩士班
108
During his life, Alexander Arutiunian composed many pieces inspiring by sources from Armenian music. Being a member of the “Union of Composers” in the Soviet period, he won the “Stalin Prize”. Yet the prominent feature of Armenian musical elements made him a famous Armenian composer worldwide. The thesis focuses on the study of the Concerto for Trumpet and Orchestra, which is one of the most popular trumpet repertoires in 20th century, by Alexander Arutiunian. Including five chapters, the first one presents the motive, purpose and method of the research. The second chapter introduces Arutiunian’s life, Armenian music, as well as the background of the piece. The third chapter analyzes each movement of the piece, and compares the versions for orchestra and piano. The author of the thesis presents her personal interpretation suggestions of the piece in the fourth chapter. A conclusion ends the thesis.

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Lockard, Douglas Todd 1965. "A stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet." 2001. http://hdl.handle.net/2152/11341.

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Smith, Thomas Rodgers 1953. "The use of the trumpet in selected chamber works of Eric Ewazen." 2001. http://hdl.handle.net/2152/12844.

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Bolt, Martin G. "A salience-based analytic method applied to André Jolivet's Concertino for Trumpet, String Orchestra, and Piano." 2010. http://digitalcommons.unl.edu/musicstudent/24.

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Thesis (M.M.)--University of Nebraska-Lincoln, 2010.
Title from title screen (site viewed June 8, 2010). PDF text: iv, 71 p. : music. Publication: Student Research, Creative Activity, and Performance - School of Music. Includes bibliographical references.

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Ho, Yu-Kwang, and 何昱寬. "The Research and Interpretation of Joseph Haydn Concerto for Trumpet and Orchestra in E-flat Major." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/03101681028559000260.

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碩士
國立臺中教育大學
音樂學系碩士班
100
The piece was composed by the great classical composer, Franz Joseph Haydn, in 1769. It was the last concerto created by Franz Joseph Haydn in his old age. The music was produced since the palace trumpeter, Anton Weiding, devised a kind of keyed trumpet which could be played complete Chromatic scale. In this moment, it was the peak period for Franz Joseph Haydn, therefore the music was integrated with Haydn’s mature techniques. Therefore, in terms of music form, tone harmony or the motivation and the use of the subject, are called the classical music of the most classic. In addition, Haydn also placed a lot of highlighting key characteristics of the trumpet-style syntax and techniques in which, through such as chromatic scale, appoggiatura and trill techniques such as motivation to show the different characteristics from traditional trumpet. Through my longitudinal study of the historical background and music form of the horizontal analysis, and then comparing with different version, I proposed analysis and discussion for the performance and interpretation of the style characteristics and skill challenges of the music. Owning to the trumpet song in music history or the history of instrumental music plays a vital role. The song also could be heard in many performances and audio data. So I can understand more and realize more the greatness of the song with the Master’s thesis and then I hope myself can gain better understanding of the trumpet in the style of classical music and the correct interpretation of the features and direction.

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Lin, Hsin-yu, and 林芯郁. "An Analytical and Interpretational study of Joseph Haydn’s and Johann Nepomuk Hummel’s Concertos for Trumpet and Orchestra." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/19516751853813544181.

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碩士
中國文化大學
音樂學系碩士班西洋音樂組
100
The Concertos for Trumpet by Franz Joseph Haydn(1732-1809), and Johann Nepomuk Hummel(1778-1837), are important trumpet concertos in the classical period. The motive to write these works is beacause at that time a court trumpeter, Anton Weidinger(1766-1852), developed the Key Trumpet. This way to add button can let trumpets playing semi-chromatic figurations, opened the development of Concerto for Trumpet.The two concertos play important and irreplaceable roles in this day. This article, An Analytical and Interpretational study of Joseph Haydn’s and Johann Nepomuk Hummel’s Concertos for Trumpet and Orchestra, is divided into five chapters. The first chapter is introduction, indicating the motive, the reason, the range and the method of the author of this paper. The second chapter is the development and its characteristics of trumpet in the classical period, telling the development of trumpet in this period according to the music history, and what the influence bring to the trumpet works. The third chapter is about Haydn Concerto for Trumpet and Orchestra in E-flat Major. It is explained by three parts, Haydn’s life and creative background, the music analysis of the Concerto for Trumpet, and the interpretation of performance. The forth chapter is about Hummel Concerto for Trumpet and Orchestra in E-flat Major. It is also explained by three parts as well as the third chapter’s. The last chapter is the conclusion of this paper, bringing up the views and points of the author.

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"Professional Orchestral Auditions for Trumpet: Criteria for Evaluation of Candidates, Common Mistakes and Concerns, and a Discussion of the Top Fifteen Excerpts Asked at Auditions." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14637.

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abstract: Every year hundreds of aspiring musicians audition for positions with professional orchestras throughout the United States. This study is designed to provide a comprehensive look at professional orchestral auditions for trumpet. While other resources rely on the single opinion of their author, this study gathers information from a broad range of sources to develop its conclusions. This project was completed in three phases. In the first phase, lists of excerpts from trumpet auditions were compiled. In the second phase, an online survey of musicians who have served on a trumpet audition committee was conducted. In the final phase, four principal trumpet players of major orchestras and one conductor were interviewed to look further into the criteria and procedures used in orchestral trumpet auditions. The results of this study can be grouped into four categories: the desired qualities sought in a trumpet audition, common mistakes and concerns for those taking auditions, common mistakes and concerns for audition committees, and a discussion of the top fifteen excerpts asked in auditions. The data from this study can be used to consider two different perspectives: what does an aspiring trumpet player need to do to win an audition? And also, what should a committee want to hear? Although there is a broad range of opinion when considering trumpet auditions, certain standards remain. Also, while most of those involved in this study agree that the audition process is among the fairest ways to determine the winner of a job with an orchestra, they also agree that significant changes to the process still need to be made. This is especially true with reference to the types of excerpts asked and the audition procedures used.
Dissertation/Thesis
D.M.A. Music 2012

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40

Lin, Chia-hsuan, and 林佳萱. "A Study of Charles Stanford’s Concert Variations for Piano and Orchestra, Op. 71." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/16593669720282024154.

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碩士
國立中山大學
音樂學系研究所
103
W. A Mozart used variation forms in piano concerto’s third movement to raise the possibilities of concerto’s variety and technique. This was the first time that the variations in concertos applied in music history. In the late 18th century for the first time. In the Romantic period , even though composers only wrote solo variations, they placed a symphonic idea into the music. Until late 19th century, for the first time. Irish composer- Charles Stanford( 1852-1924 ) composed single movement’s concert variations and call the piece Concert Variations for Piano and Orchestra, Op. 71. 　　This research consists of three parts. Part one discusses how the variations use in piano concerto of Mozart, and the development of concert variation in the late 18th century to early 20th century. Second part discusses Charles Stanford’s life and his music style. Part three emphasize on three points– (1) In the thesis of Stanford– Musical Composition–A Short Treatise for Students, he gave the ideas of writing variations. (2) The original and development of this variation’s theme is explored. (3) The variation technique Stanford applied in this work and its virtuostic technique. The purpose of this research is to provide Stanford’s musical style and performers information for understanding the concert variations.

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Fang, I.-Ching, and 方奕晴. "An Analysis and Interpretation of Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano by Marcel Bitsch." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/u8wj7t.

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碩士
國立臺南藝術大學
鋼琴合作藝術研究所
103
Marcel Bitsch (1921-2011) is a French composer in the 20th Century. He wrote a number of compositions for wind instruments and published books on theory of harmony, which bring significant impact on the areas of the wind instrument repertoire and the harmonic theory in modern music. Bitsch completed “Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano” in 1950. The composition contains one theme and four variations, in which the theme was derived from Domenico Scarlatti‘s “Sonata in D Major, K. 21” (1739). Bitsch varied the Baroque theme with modern harmonies and rhythms thus the style and character related to Neo-Classicism. The trumpet and the piano imitate and draw echoes toward each other throughout the entire composition. This thesis consists of three chapters. The first chapter, an overview of “Quatre Variations sur un Thème de Domenico Scarlatti” will be provided, including Bitsch’s biography, the background of his work, and the character of “Sonata in D Major, K. 21”. The second chapter is the analysis that how Bitsch used the theme of “Sonata in D Major, K. 21”, and the correlations between the theme and each variation in “Quatre Variations sur un Thème de Domenico Scarlatti”. In the third chapter, suggestions for performing this piece are given from the perspective of a collaborative pianist.

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Chang, Meng-Chieh, and 張孟傑. "The Analysis and Comparison of Joseph Jean-Baptiste Laurent Arban and Herbert Lincoln Clarke Trumpet Studies Based on Variations on “The Carnival of Venice”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/12395163539109551004.

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碩士
國立臺中教育大學
音樂學系碩士班
101
The purpose of writing this thesis is to discuss and compare the two different versions of "The Carnival of Venice", composed respectively by the Romantic School trumpeters J. B. Arban and H. L. Clarke. It is also important analyzing the trumpet techniques to confirm whether Arban and Clarke's teaching methods written in their teaching materials are practically used in these works. Solutions are also provided to overcome the difficulties might be faced when performing these works. In addition, the main ideas of Arban and Clarke's trumpet pedagogy are presented in this thesis. Also, the practical applications of the exercises in the etudes can be found by analyzing and practicing "The Carnival of Venice”. This thesis consists of five chapters, including Chapter One- Introduction, Chapter Two- Biography of the Composers and composition background of these two pieces, Chapter Three- Analysis of the Work, Chapter Four- The Analysis and Comparison of J. B. Arban and H. L. Clarke Trumpet Teaching Material based on Variations on “The Carnival of Venice”, and the Conclusion is written in the Chapter Five.

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43

Chen, Yu-Hsuan, and 陳佑瑄. "A Study of Variations on a Rococo Theme, for Cello and Orchestra in A Major, Op. 33 by Pyotr Il’yich Tchaikovsky / Yu-Hsuan Chen Cello Recital." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/01805839417196985002.

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碩士
東吳大學
音樂學系
99
Pyotr Il’yich Tchaikovsky (1840-1893) was one of the greatest Russian composers of the Romantic era in 19th century. He wrote a lot of famous works, including symphonies, instrumental and chamber music, operas, ballets and songs. One popular work “Variations on a Rococo Theme, for Cello and Orchestra in A Major, Op. 33,” which was created in 1876, is studied in this thesis. Through realizing the background and the motivation behind the work and further analyzing the interrelation between the music theme and the variations, and the organization of the instruments in the work, the author presents a unique interpretation of the work in this thesis. 【Yu-Hsuan Chen Cello Recital Program】 J. B. Bréval: Duetto V F-Dur, Opus 25 P. I. Tchaikovsky: Variations on a Rococo Theme for Cello and Piano, Opus 33 J. S. Bach: Suite No.1 in G Major, BWV 1007 D. Shostakovich: Sonata for Cello and Piano in d minor, Opus 40

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Kovarik, Christopher Matthew. "Graduate recital." Thesis, 1995. http://hdl.handle.net/2429/3727.

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The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording.

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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Bazala, Alison Andrist Audrey Vadala Kathleen Newman Edward Boyle Tara. "Bohuslav Martinů's chamber music for violoncello and piano." 2005. http://hdl.handle.net/1903/9747.

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

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