Bibliography: leaves 97-99. / This dissertation attempts to demonstrate the role the tongue plays in articulation in brass playing. It briefly examines oral anatomy, physiology and theories on motor learning, and describes the tongue's position in producing English speech sounds. It shows how these positions are used to teach different articulation techniques on the various brass instruments. Articulation styles and (tonguing) exercises, which could aid in the improvement of tongue articulation, are highlighted. It is hoped that these highlights will add insight for both present and future brass teachers.

This study examines what makes a keyed brass instrument, early keyed brass instruments, and keyed brass instruments of today. Focuses on the Cornett, the Serpent, the Basshorn and Russian Bassoon, the Ophicleide, the Horn, the Keyed Trumpet, and the Keyed Bugle.

No description available.

References to trumpeters appear in records of the Scottish royal court from the fourteenth and fifteenth centuries. During the reign of James IV, several groups of Italian minstrels came from Bologna to serve the Scottish King. The first group to arrive was a wind band, which was appointed to a permanent place at court. By the reign of James VI this ensemble had evolved into the royal trumpet corps. When James VI ascended to the throne of England and moved to London in 1603, the Scottish royal trumpeters were transferred to the English royal trumpet corps. Gradually, a royal trumpet corps was re-established in Scotland. Solo items for trumpet, performed by one of the royal trumpeters, were included in a concert presented in Edinburgh in 1695, the first concert in Scotland of which details have survived. During the eighteenth century, a number of prominent professional musicians in Edinburgh served as royal trumpeters. Several of these appear not to have played brass instruments other than to fulfil their official duties. A calendar of references to the trumpet, drawn mainly from archival sources, forms a central part of this thesis. Subsequent chapters analyse the material contained in the calendar and consider the deployment of the trumpet in a cultural context. Issues relating to terminology, patronage, repertoire and the symbolism of the trumpet are discussed. The study focuses on the use of the trumpet in royal service and provides the first detailed examination of the role of wind instrumentalists at the Scottish royal court during the sixteenth century. The ceremonial function of the trumpet is considered and, in particular, its use in funeral and judicial ceremonies during the seventeenth century. The role of the trumpet in concerts and the theatre during the eighteenth century, and the relationship between trumpet and horn playing, are examined, as is the function of the royal trumpet corps as a source of patronage for the Edinburgh Musical Society.

Thesis (D.M.A.)--University of Rochester, 1962. / Vol. 2: "Variations for brass by Thomas Hohstadt." Bibliography: v. 1, leaves 105-107. Digitized version available (v. 1 only) online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/6306

Thesis (M.M.)--University of Michigan, 1955.

Thesis (M.M.)--University of Michigan, 1955.

This subject was chosen becasue I felt a need of a method for the teaching of brass instruments. Most teachers whose major instrument is not a member of the brass family have had too little opportunity to study and find out what is necessary for developing a good breass instrument player. In far too many cases a teacher is expected to be able to teach the brass instruments after completing a three or four months course. This method is intented to be used as a guide, in conjunction with other material. The aim is to put in writing the proper fundamentals necessary for good brass playing. The exercies are written progressively and are to be take up only when the student is ready for them. It is for this reason that supplementary material must be used.

Adolphe Sax developed in Paris in the early 1840s a family of brass instruments, the saxhorns, which gained an immediate popularity in France, Britain and other parts of the world. The originality of saxhorns was challenged at the time through long-lasting litigations, and is still questioned by many researchers. This thesis investigates the development of the saxhorn from an organological standpoint. Saxhorns are examined in comparison to instruments predating them by other makers, along with relevant archival material (patents, lawsuit minutes, daily press, publicity material etc.) so as to reveal whether the allegations against their originality were sound. It is noticed that idiosyncrasies of intellectual property law of the time facilitated a strong interaction between musical instrument makers particularly of France and Britain. Instruments examined are Adolphe Sax saxhorns, saxhorns by other contemporary makers, mainly French and British, but not exclusively, as well as a number of related instruments, made before and after the development of Sax’s saxhorns. The assertions of Sax’s rivals are not fully confirmed based on the analysis of instrument measurements. It is also argued that the saxotromba family, so far considered extinct, is in fact represented by two members in the saxhorn family, the alto and the baritone. A number of related instruments emerged around the middle of the nineteenth century in various wraps and with different names. These are compared to saxhorns and classified according to bore-profile properties. Only certain groups were distinct, whereas most were essentially saxhorns in different forms. Sax’s brasswind production as a whole is reviewed not only as an enumeration of his developments, but also to provide an assessment of the genuine innovation in his work.

When assessing the quality of a brass instrument the player must consider a number of factors, the main consideration being the playability of the chosen instrument. The playability of an instrument is a broad term used to describe how well the instrument plays; this includes how in tune the resonant modes are, how easy it is to start and move between notes, how easy it is to bend notes and the degree of spectral enrichment during a crescendo that is able to be produced. The starting transient is known to be of crucial importance for both the musician and listener, and previous work in the field has been mainly concerned with such starting transients; this work focusses on inter-note transitions. Transitions between notes include both starting and finishing transients as the initial note is ended and the next begun. Using high speed photography images synchronised with pressure signals from the mouthpiece and bell end, the internote transitions are explored. Results from these experiments are compared with those from a simple one dimensional time domain model. Other techniques used to determine the playability of a specific instrument include the rate at which the instrument timbre becomes `brassy' due to nonlinear effects, that are a consequence of loud playing. The relative significance of viscothermal wall losses and nonlinear effects within realistic brass instruments have been explored here using experiments on cylindrical tubes of different internal diameters. These experimental results are compared with results from a computational model that uses weakly nonlinear wave propagation theory and includes viscothermal losses. It is also possible on some brass instruments, when playing loudly, to achieve what are known as super high notes; these notes are above the frequency where the instrument has well defined resonances. Experimental results are presented here using optical techniques to visualise the motion of the player's lips during playing of these super high notes.