Semaine Sainte a Cuzco / H. Tomasi -- Prayer of St. Gregory / A. Hovhaness -- Sounds from the Hudson / H. L. Clarke -- Sonata for trumpet and piano / G. Antheil -- Eiffel Tower polka / F. Poulenc -- Galliard battaglia / S. Scheidt -- Penny Lane / J. Lennon-P. McCartney. / text

The orchestral trumpet in selected Grawemeyer award winning compositions -- The Grawemeyer awards / H. C. Grawemeyer -- Symphony no. 3 / W. Lutoslawski -- Silver ladders / J. Tower -- Symphony no. 4, adagio for large orchestra (1992) / K. Penderecki -- Asyla for large orchestra, op. 17 / T. Ades. / text

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.

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This document explores selected trumpet works by Jacques Castérède, both in terms of musical content and performance practice. His Concertino for Trumpet, Trombone, String Orchestra, Piano, and Percussion, published in 1959, and his 1965 work for trumpet and piano, Brèves Rencontres, will serve as the focus of the document.As there is very little information available on Castérède and his music, a personal interview was conducted on May 28 of 2008, at the composer's residence in a suburb of Paris, during which his biographical details and stylistic features were discussed.Following a brief biographical introduction to the composer, the primary focus will be to examine the various levels of rhythmic complexity of these pieces, as well as studying his creation of formal structure through various musical elements including texture, orchestration, harmonic rhythm, and the use of silence. While the works feature shared characteristics such as metric dissonance, motivic development, and modified formal structures, the compositional devices vary greatly in terms of degree, technique, and result, even from movement to movement within each piece.Additionally, this document will address technical and musical issues or decisions that may arise in performance, both as an extension of Castérède's compositional technique and of the circumstances surrounding their compositional genesis.

1) A strain gauge device was developed to measure the forces exerted in two dimensions on the trumpet mouthpiece during performance. 2) A group of top professional performers (n = 30) and a group of intermediate players (n = 30:) were tested on a wide variety of musical material with mouthpiece force as the dependent variable. Data from the long note exercise in the normal register revealed significant effects for pitch and intensity on the dependent variable. No proficiency effects were observed. The scale and arpeggio exercises revealed a remarkable consistency in the application of mouthpiece force by all the subjects, such that force levels at each selected pitch/intensity combination appeared to be independent of context. The lip flexibility exercise however revealed significant, contextual influences, and it was suggested that musical complexity might be responsible for this. Some proficiency related effects were observed: the professional players had greater levels of maximum tolerable forces, displayed more endurance and were more consistent in the application of-mouthpiece force than the intermediate players across the range of tests. 3) An investigation was carried out on the assessments by trumpet players of the mouthpiece force usage of other players. The judgments involved rating photographs of players performing notes at known force levels. Groups of subjects differing in proficiency showed a high consensual agreement in judgments of mouthpiece force. However, equivalent proficiency groups rating the same photographs according to the criterion of apparent effort yielded almost identical rankings, suggesting that mouthpiece force judgments are made on the basis of this erroneous cue. The extent of consensual agreement and judgmental accuracy was found to be independent of proficiency level. 4) A psychophysical investigation of mouthpiece force using ratio production, magnitude production and magnitude estimation methods produced logarithmic sensory functions for both individual and group data. Judgmental accuracy was found to be unrelated to proficiency level.

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<p>Max Stark - Trumpet, flygelhorn</p><p>Magnus Dölerud - Tenorsaxofon</p><p>Anton Dromberg - Piano</p><p>Joel Hulander - Bas</p><p>Ludwig Gustavsson - Trummor</p><p></p><p>Material:</p><p>Life Is What's Happening</p><p>Linneas Vals</p><p>If I Have To Choose</p><p>Ballad For Bernt</p><p>Puebla Lucia</p>

Many musicians have theorized that intonation would be improved if all players in a band or orchestral section used instruments of identical dimensions and material. This study consists of a test taken under experimental conditions comparing the Conn 38A cornets used in the North Texas State University Concert Band with a random selection of trumpets, using the same performers for both sets of instruments.

A collection of transcribed trumpet solos from the Duke Ellington Band between 1940 and 1942.