Os primeiros anos da Orquestra Sinfônica do Estado de São Paulo (Osesp) foram marcados pela instabilidade administrativa, o que impossibilitava, à época, a existência de uma programação de concertos. Com a chegada de Eleazar de Carvalho, em 1973, a Osesp inicia a estruturação de suas temporadas regulares, e uma das iniciativas foi a implementação de ciclos com obras de um mesmo compositor. Em 1977, foi apresentado o ciclo Beethoven, seguido de outros que deram destaque a Schubert, Tchaikovsky, Brahms, Wagner, culminando, em 1980, com o ciclo de obras de Gustav Mahler. A pesquisa documental nos arquivos da orquestra revelou também que houve mudanças no conteúdo dos programas de concerto, que passaram a exibir informações detalhadas ao público da orquestra. Essa nova proposta de, progressivamente, aumentar os desafios técnicos e artísticos por meio dos repertórios, teve consequências na forma de preparação, escolha de equipamento e atuação dos músicos da Osesp. Esta tese propõe, referenciada pela teoria dos \"mundos da arte\", de Howard Becker, identificar os trompetistas que atuaram na Osesp, quais os processos que utilizaram para executar os repertórios e, por fim, contextualizar a importância das temporadas de 1977 a 1980, na trajetória musical da Osesp. / The early years of the São Paulo State Symphony Orchestra (Osesp) were marked by administrative instability, which made it impossible at the time to have concert seasons. In 1973, when maestro Eleazar de Carvalho came to São Paulo, Osesp starts the structuring of its regular seasons, and one of the initiatives was the implementation of cycles of works by the same composer. In 1977, Beethoven\'s cycle was presented, followed by others that gave prominence to Schubert, Tchaikovsky, Brahms, Wagner, culminating in 1980, with the Gustav Mahler\'s cycle. The documentary research at the orchestra\'s archives also revealed that there were changes in the content of the concert programs, which began to show detailed information to the audience of the orchestra. This new proposal to progressively increase the technical and artistic challenges through repertoires had consequences in the way of preparation, choice of equipment and performance of Osesp\'s musicians. This thesis proposes, using Howard Becker\'s theory of the \"art worlds\", to identify the trumpet players who performed at Osesp, the processes they used to execute the repertoires and, finally, to contextualize the importance of the seasons from 1977 to 1980, to the Osesp\'s musical path.

This paper investigates the influence of jazz on the nine solo trumpet compositions of the French composer Eugène Bozza (1905-1991). Bozza, like many other French composers in the first half of the 20th century, combines traditional elements of western European art music with innovations of American popular music. While Bozza holds a prominent role as a composer of solo trumpet literature in the mid-20th century, little has been written about the influence of jazz in his works. This paper traces the influences of American jazz upon French composers and analyzes the elements of jazz within Bozza's compositions for solo trumpet by comparing them to conventions employed by jazz composers.

The Sonata for Trumpet and Piano by Peter Maxwell Davies is one of his earliest works, and a notoriously difficult work to perform. While using serialism and other twentieth-century compositional techniques, this work also uses older historical forms, including sonata-allegro and sonata-rondo forms. An analysis of the work is presented, identifying the older historical forms, and considerations for performers when making decisions on how to perform the work are provided.

Performance issues related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas. Chapters one and two provide a brief biography of each composer. Chapter three is an examination of their musical style and the influence that indigenous Indian music, popular music and nationalism had on their styles. Chapter four provides an investigation of Soli by Carlos Chávez, a chamber piece written for oboe, B-flat clarinet, bassoon and B-flat trumpet. Chapter five offers an examination of Two Little Serious Pieces by Silvestre Revueltas, a wind quintet for piccolo, oboe, C trumpet, B-flat clarinet and baritone saxophone. Chapters four and five contain an analysis of these pieces with regard to melodic and harmonic material, tonality, texture, range, phrase structure and form. Performance issues, such as tempo, dynamics, articulation, rhythm and style are likewise addressed with the result being an interpretive analysis of each piece. The final chapter offers a comparative analysis of Soli and Two Little Serious Pieces relative to the topics discussed in chapters four and five.

This document examines the technical execution of extended techniques incorporated in the musical structure of Solus, and explores the benefits of introducing the work into the curriculum of a college level trumpet studio. Compositional style, form, technical accessibility, and pedagogical benefits are investigated in each of the four movements. An interview with the composer forms the foundation for the history of the composition as well as the genesis of some of the extended techniques and programmatic ideas.

The trumpet, or some ancestral form of the trumpet, has existed nearly as long as civilization itself. Despite its long history, however, the trumpet's solo repertoire remained limited and relatively unvaried until the second half of the twentieth century. Like most music, the American trumpet sonatas from the 1950s are a reflection of the culture and history surrounding their composition. The purpose of this research is to show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill are both distinctly American and unmistakably from the 1950s. The post-war era in America is often viewed as a time of unbridled optimism stemming from economic prosperity and the nation's military and industrial supremacy. The decade of the 1950s is often viewed today as a simpler, happier time in America's history. The trumpet sonatas of this era reflect this primarily in their ebullient rhythms and brilliant, often heroic melodies. However, darker characteristics of the decade (the rise of communism, for example) also make veiled appearances in these four sonatas. After an overview of the social and musical trends of the decade, the central chapter of the work delineates formal, thematic, and tonal structures of each of the four sonatas and their constituent movements. Highlighted throughout the analyses are similarities between the pieces, especially intervallic structures, motivic rhythms, and melodic construction. The final chapter discusses these similarities further and integrates them into 1950s American history and culture.

The impact of training on virtual team effectiveness was assessed in five areas: communication, planning tasks and setting goals, solving problems and making decisions, resolving conflict, and responding to customer requirements. A 12-page survey was developed exploring all aspects of virtual teams. 180 surveys were distributed, 52 were returned representing 43 companies. Training led to higher effectiveness in planning tasks and setting goals, solving problems and making decisions, and conflict resolution, but not in communication and responding to customer requirements. Training may not solve all the problems that virtual teams will encounter; however, training will make the challenges easier to handle.

Research has been conducted on Francis Poulenc and his prominent 20th century sonata for brass instruments. Poulenc and members of the French compositional collaboration known as Les Six have all been subjects of research. Francis Poulenc's Sonata for Horn Trumpet and Trombone is a crucial piece in the development of brass chamber music during the 20th century. As one of the first works written for modern brass instruments, it demonstrates a highly crafted compositional style representative of Poulenc's early period. Research includes background and historical significance of the Sonata, analysis of form and compositional techniques, biographical information on Francis Poulenc and the members of Les Six and a section on implications for the performance of the work. This study is necessary due to the lack of research available for the piece especially considering its relevance to the development of brass chamber music. This study explores the compositional style of Francis Poulenc and his contribution to the brass ensemble repertoire.

Fractus I is a composition for trumpet in C and live electronic sound. The electronics were primarily created using SuperCollider, an environment and programming language for real time audio synthesis. This project investigates SuperCollider's pattern and task functionality as a means of supporting and enriching the compositional process. Fractus I develops several different code architectures in order to randomize as well as synchronize various musical elements. The piece exploits SuperCollider as both an audio synthesis tool and a performance conduit. Additionally, the nature of SuperCollider's patterns and tasks influences the form and content of the composition. The project underscores SuperCollider as a powerful, versatile and open-ended tool for musical composition and examines future directions and improvements.

This study is a guide to the performer on practices associated with the trumpet music of Donald Erb. It examines the following solo and duo compositions for trumpet: the as yet unpublished Sonatina for Trumpet and Piano (1954); Four Duets for Trumpets (1960); Diversion for Two for trumpet & percussion (1966); Concerto for Trumpet and Orchestra (1980); Remembrances for two trumpets (1994); and Dance, You Monster, To My Soft Song for solo trumpet (1998). A history of each composition and information concerning the performers who premiered them are documented. An examination of particular harmonic, melodic and rhythmic elements found frequently in these pieces follow. The pieces are further assessed for difficulty through an investigation of extended technical demands, range, endurance and articulation. Additional discussion focuses on the use of mutes, tempos and dynamics as well as suggestions for the preparation and performance of these works. The dissertation concludes with a review of Donald Erb's legacy as a composer and teacher. A comprehensive discography and complete list of Mr. Erb's compositions are included in appendices.