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 (M.S.)--University of Michigan, 1978. / Includes bibliographical references. Also issued in print.

Thesis (Ph.D.)--University of Edinburgh, 1998.

Thesis (M.S.)--University of Michigan, 1978. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 512-526).

Thesis (Ph. D.) - Massachusetts Institute of Technology, 1966. / Prepared under NR 083-157, Contract Nonr 1841(74) Office of Naval Research. Bibliography: leaves 184-187.

Since the rise of the "Stile Rappresentative" early in the seventeenth century, the composer has made definite and increasing demands on specific performance and tonal combination of instrumentalists which has materially affected the developnent in technique and, consequently, the improvement in construction and design of every musical instrument. The monodic "Stile Rappresentative" required expressive instruments with an extensive range to match the singers and, consequently, many instruments of the Renaissance period were rendered obsolescent. For instance, the shawms, pommers and crumhorns disappeared from concerted music-making with the exception of military and outdoor use, mainly in German windbands. More flexible instruments were required, and thus cornetts, flutes (mainly recorders and fipple-flutes), oboes and bassoons came gradually into their places, which for the main part they have occupied in the orchestra ever since that time. The String sections, too, underwent radical changes. A gradual metamorphosis from the Consort of Viols to the Violin Family took place following the work of the craftsmen Gasparo da Salố (1540 - 1609) and Giovanni Paolo Maggini of Brescia, perfected by the famous Cremonese school founded by Andrea Amati and continued by Stradivarius.

Diss.--Hambourg, 1989. / Bibliogr. et discogr. p. 329-348.

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.

Thesis (M.M.)--Boston University