Due to a break in its practice and pedagogy during the Classical and Romantic Eras, many misconceptions regarding the Baroque natural trumpet remain today. As newly discovered instruments and pedagogical materials have become known and disseminated, a resurgence in the performance of the natural trumpet has occurred, but its practice is still often conceived as wholly separate from modern trumpet technique. This study clarifies long-held misconceptions about the natural trumpet, describes its physical, pedagogical, and technical traits in comparison with the modern trumpet, and demonstrates that its concurrent practice with the modern trumpet is not only possible, but significantly beneficial. Qualities unique to the Baroque natural trumpet bestow upon it tremendous pedagogical potential for its simultaneous study with the modern trumpet. The possible benefits of this concurrent practice include increased embouchure strength, efficiency and endurance, the elimination of even badly entrenched negative habits, stronger fundamental abilities, and a better understanding of the performance of Baroque trumpet music. The plausibility of these pedagogical gains is evidenced by both modern and Baroque pedagogical literature, the scientific principles behind playing both types of trumpet, and the experiences of professional trumpeters who have demonstrated high levels of proficiency on both instruments.

This work discusses in detail the history of, and processes associated with the construction of baroque era trumpets then and now. The work addresses metallurgy, tools, construction methods, and playing characteristics of instruments built with old techniques and modern techniques.

Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto Artes / Made available in DSpace on 2018-08-14T15:54:33Z (GMT). No. of bitstreams: 1 Rolfini_UlissesSantos_M.pdf: 9687069 bytes, checksum: 12b94563f915d72cf715c98a27f35c69 (MD5) Previous issue date: 2009 / Resumo: Esta dissertação tem como tema principal a presença do Clarim no Brasil e enfatiza a utilização deste instrumento musical na Capela Real e Imperial do Rio de Janeiro no início do século XIX. De acordo com nossas pesquisas, clarim foi um dos nomes utilizados no decorrer da história brasileira para se referir ao trompete natural. Neste trabalho apresentamos as informações mais antigas, encontradas até o presente momento, que possuem ligação com o trompete em território nacional, ou seja, coletamos dados referentes ao período que corresponde desde a "descoberta do país" até o início da utilização do trompete cromático, ocorrida aproximadamente em meados do século em questão. Inicialmente, demonstramos uma contextualização histórica sobre o trompete de uma maneira geral, destacando aspectos como suas possíveis origens e seu desenvolvimento até a introdução das válvulas, além de evidenciar dados recentes sobre a pesquisa de reconstrução dos trompetes históricos empregados na prática musical historicamente orientada. Em seguida, relacionamos os primeiros povos que tiveram vínculo de qualquer natureza com o trompete natural já em território pertencente ao Brasil, ressaltando ainda o uso deste instrumento na região Nordeste, em Minas Gerais e, sobremaneira, no Rio de Janeiro do século XIX, mais especificamente na Capela Real e Imperial. Acerca desta época, na qual a corte portuguesa chegou ao continente americano, abordamos assuntos como: o reflexo da prática musical européia em nosso país; o repertório interpretado pelo clarim e possibilidades interpretativas para o mesmo - exemplificado por partituras manuscritas pertencentes ao Acervo do Cabido Metropolitano do Rio de Janeiro dentre outros documentos -; além de organizar, por meio de bibliografia condizente ao tema, informações biográficas de intérpretes de trompete que atuaram na Capela ou mesmo no Rio de Janeiro durante este século. / Abstract: This dissertation has as its main theme the presence of the "Clarim" in Brazil and it uses as a musical instrument in the Royal and Imperial Chapel of Rio de Janeiro in the beginning of the nineteenth century. According to our research, in the course of Brazilian history "clarim" was one of the names used to refer to the natural trumpet. In this work mention is made to extant information available on the presence of the trumpet in this country; data has been collected on its use from the earliest days of the nation to the middle of the 19thcentury which coincides with the appearance and use of the chromatic trumpet by the introduction of valves. Initially we demonstrate the historical contextualization of this instrument in a general way, investigating aspects about its possible origins and development to the time of the introduction of valves; research is also included on the reconstruction of the historical trumpet and its use in modern day performances. We have also investigated the earliest ethnic groups in this country that may have had involvement with the natural trumpet with special attention to its use in the Northeastern region and in the State of Minas Gerais, but most especially in the Royal and Imperial Chapel of Rio de Janeiro in the early Nineteenth Century. At this time upon the arrival of the Portuguese Court to the South American continent, questions are raised on subjects such as the influence and reflection of European musical practice of the time in Brazil; repertoire and performance possibilities of the clarim as exemplified by musical manuscripts belonging to the "Acervo do Cabido Metropolitano" of Rio de Janeiro. A thematic bibliography and biographical information on trumpet players active in the Chapel or in the city of Rio de Janeiro during the nineteenth century is also provided. / Mestrado / Praticas Interpretativas / Mestre em Música

This dissertation consists of four programs: one lecture recital, two recitals for solo trumpet, and one in combination with other instruments and voices. The lecture was an exploration of the contents of Modo per Imparare a Sonare di Tromba, by Girolamo Fantini, published in 16358. Fantini, who was also a trumpet player, included in his volume a wide variety of music for the natural trumpet. In addition to military signals and fanfares, the book contains exercises for developing technical ability on the trumpet, a large number of dance pieces with and without accompaniment, duets for two trumpets, and sonatas for trumpet and keyboard.