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Bakalauro darbas „Akademinės ir džiazinės grojimo trimitu mokyklų lyginamoji analizė lūpų traumų prevencijos edukaciniame procese požiūriu“ parengtas 2014 metais. Darbe aptariamas trimito akademinės ir džiazo mokyklų metodų praktinis pritaikymas mokymo procese, siekiant išvengti lūpų traumų. Darbo tikslas – išanalizuoti akademinės bei džiazo grojimo trimitu mokyklų metodikas ir remiantis darbo temai aktualiais šių mokyklų atstovų teiginiais įrodyti, kad akademinė (klasikinė) grojimo mokyklos metodika yra tinkamesnė mokyti groti trimitu lūpų traumų prevencijos aspektu. Tyrimo uždaviniai: pateikti trimito naudojimo akademinėje bei džiazo muzikoje istoriją; pristatyti akademinę mokymo groti trimitu mokyklą bei pasirinktų jos atstovų edukacinius metodus; pristatyti džiazo mokymo groti trimitu mokyklą bei pasirinktų jos atstovų edukacinius metodus; atlikti lyginamąją dviejų mokyklų metodikų analizę; aprašyti meninį projektą. Išanalizavus mokslinę literatūrą, padarytos šios išvados: akademinės grojimo trimitu mokyklos atstovų mokymo proceso tikslas yra paruošti atlikėjus, turinčius stiprų techninį pagrindą, sugebančius pilnai išnaudoti savo fiziologines savybes: teisingai valdyti lūpų raumenis, kontroliuoti kvėpavimo aparatą, derinti pirštų, lūpų, liežuvio bei kvėpavimo organų darbą. Kasdieninis darbas – nuoseklus apgalvotų muzikinių schemų praktikavimas, gamų, etiudų grojimas, skaitymas iš lapo – visa tai paruošia muzikantą, galintį atlikti įvairių žanrų muziką, sugebantį... [toliau žr. visą tekstą] / Bachelor thesis "Comparative analysis of academic and jazz playing trumpet schools of lip injury prevention in terms of the educational process" is developed in 2014. The object of research – jazz and academic trumpet paying schools practical application techniques in the teaching process in order to avoid lip injuries. The aim - analysis of jazz and academical playing trumpet schools selected representatives and their educational methods and to prove that the academic (classical) playing school methodology is more appropriate to teach trumpet in order to prevent lip injury. Objectives of the study: to present the use of trumpet in academical and jazz music and its history; present academic school learning methods how to play the trumpet and to describe the selected representatives and their educational methods; present jazz playing trumpet school and its selected representatives with their educational methods; perform a comparative analysis of the two schools of methodologies; describe the artistic project. An analysis of the scientific literature draws the following conclusions: academic playing trumpet school represents the teaching process which aims to prepare artists with the strong technical fundamentals and the ability to fully utilize its physiological properties: properly managed lip muscles; fully control the breathing apparatus and the ability to combine the fingers, lips, tongue, and respiratory work all together. Educational process and long – term deliberate... [to full text]

Thesis (M.M.) -- Florida State University, 2004. / For flute, trumpet, piano and percussion (2 performers). Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-28-04). Document formatted into pages; contains 36 pages. Includes biographical sketch.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 144-145). Available also in a digital version from Dissertation Abstracts.

Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI Company.

abstract: Many of Erik Morales's trumpet compositions have become standard repertoire. This study examines his trumpet works, which are examples of Morales's outstanding compositional skill and versatility. The composer, some of the most significant performers, and people who commissioned these pieces were interviewed. Biographical information and compositional characteristics of Morales are presented. Historical information about the pieces is also provided, including the premieres, commissions, recordings, and significant performances. Technical concerns specific to the trumpet, and performance recommendations, are assessed. This study is a pedagogical and informative source for all trumpet educators and performers interested in solo and trumpet ensemble music. / Dissertation/Thesis / Doctoral Dissertation Music 2016

The purpose of this study is to determine the general style characteristics of the works for solo trumpet by Alan Hovhaness, viz., Khrimian Hairig, Overture to Avak, Prayer of Saint Gregory, and Haroutiun. The musical elements of form, melody, harmony, tonality, rhythm, texture, and counterpoint are examined objectively in order to determine the essential features of the music. Further consideration is given to the idiomatic use of the solo trumpet in these compositions. Each composition is examined separately, the conclusions and generalizations of the style features being reserved for the final chapter.

Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.

Stanley Friedman is a composer of many works, primarily for brass instruments, that have become part of the standard repertoire. Solus, for Trumpet Unaccompanied, for example, appears on many audition and competition lists, as do others of his works. On the other hand, Laude: Four Character Sketches for Solo Trumpet, commissioned by the International Trumpet Guild in 1980, is unfortunately not widely known among trumpet performers and educators. The intent of this study is to demonstrate, through discussion and analysis, the qualities and potential appeal of this lesser-known work and to renew interest in its performance. Among the six chapters is an overview of Laude, including an explanation of Friedman's peculiar titles for each movement: Nocturne for St. Thomas, Phantasie für Der Wiz, Berceuse for John Julius, and Rondo for Professor Nabob. Other chapters discuss the procedure for analysis of the work and probable sources for melodic material. The motivic development and form of each movement of the work are also explored. The final chapter includes recommendations for the performance of Laude and is followed by a summary and conclusion.

Joseph Turrin (b.1947) is a composer, orchestrator, conductor, pianist, and teacher whose wide-ranging activities have contributed greatly to many aspects of contemporary American musical life. His numerous ASCAP awards (1981-20050, as well as his many other awards, document his professional success. His many commissions by various orchestras around the world, bands, brass ensembles, soloists, theatre groups and film scores show his popularity. He is also in high demand as a pianist for orchestras, in theatre productions, in commercials and studio recordings as well as serving as personal accompanist for Jerome Hines, Phil Smith, Joseph Alessi and others. Mr. Turrin's compositions for trumpet and piano have been particularly popular among college and professional players as seen by their frequent performance in those venues as evidenced by the International Trumpet Guild's Trumpet and Brass Programs for the years 1995-2002. The three works selected for the present study include: Elegy for Trumpet and String Orchestra (1971, rev. 1993, piano reduction, 1993), Caprice for Trumpet and Piano (1972), and Intrada for Trumpet and Piano (1988). In this in-depth study, special attention is given to those characteristics which create unity of form, and those traits that seem to be idiomatic of Mr. Turrin's style of writing. A comparison of the three pieces allows for the extrapolation of common style traits, which include certain traditional fanfare-style motifs as well as jazz-style elements. Conclusions are drawn with detailed explanation of what I consider the appropriate application of the knowledge from the analyses to quality performances of the pieces studied. Careful instruction is given concerning the various aspects of performance style which are supported by the study done on each piece. Finally, an interview by internet with the composer answers some of the questions created by the analyses. Several of the composer's comments justify many of the conclusions drawn by this study.