The Duo Concerto Trumpet and Organ, Op.152 by Tomas Svoboda was written in memory of and commissioned by the friends of the late Richard Thornburg, second trumpet of the Oregon Symphony. Through the use of primary sources, Tomas Svoboda, composer and organist at the premiere, and Fred Sautter, principal trumpet of the Oregon Symphony and trumpeter at the premiere, the performance guide illuminates the piece with a discussion of five different topics. Chapter 2 of the guide reveals the circumstances of the commission and the initial compositional process. Chapter 3 discusses the performance history of the concerto, including the premiere. Chapter 4 provides analytical insights with programmatic titles accompanying the formal layout of the piece. Chapter 5 presents the piece from the standpoint of performance preparation. Chapter 6 concludes the guide with final thoughts of the composer, Tomas Svoboda. The guide provides the performer studying this piece the historical context of the concerto and highlights programmatic elements of the piece not apparent in its published form.

Ellen Taaffe Zwilich is an important figure in the compositional world, having written a diverse body of works for which she has received many accolades, including the coveted Pulitzer Prize. The second chapter examines this American composer, the commission of the American Concerto, and events leading to the piano reduction of the concerto. The America Concerto is a modern work that incorporates synthetic scales, unusual notation, and the organization of melodic material through motives. The third chapter includes an analysis that identifies the form and tonal centers as well as the primary motives used in the concerto. The fourth chapter includes pedagogy considerations for performance. Issues relating to tessitura, articulation, flexibility, endurance factors, fingerings, and technical features of the piano reduction accompaniment are evaluated. Detailed suggestions are provided to aid in preparing the piece for performance, including a study of stylistic concerns. The American Concerto is quite diverse stylistically as Zwilich explores the symphonic and jazz genres. The dual nature of the trumpet is examined as the piece combines classical and jazz styles in a virtuosic setting.

American composer George Antheil's Sonata for Trumpet and Piano was written in 1951. This dissertation provides historical and theoretical information that gives insight into the interpretation of this sonata. Reasons why the piece deserves greater attention with respect to the standard twentieth century trumpet literature are also given. Antheil's music was influential in the development of classical music in the first half of the 20th century and, more specifically, contributed to the establishment of an American style of classical music. Composed near the end of his life, this sonata has its roots in this heritage. The understanding of Antheil's history, motivations, and compositional techniques is intended to help bring a performance of this sonata to its full potential.

This study addresses on facet of Joseph Turrin's compositional oeuvre: his published works for solo trumpet. Complete histories if all six trumpet compositions are chronicles. A discussion of formal organization and significant style features including harmonic language, melodic style and rhythmic features is included. A detailed performance analysis follows. The degree of difficulty of each work is assessed through an investigation of tessitura, range, melodic contour, endurance factors, fingerings, and technical features of the accompaniment. Analysis of tempi and dynamics, articulation and phrasing, and timbral considerations provides additional points of focus to the study. Finally, the importance of Turrin's works for trumpet and his impact on trumpet literature is assessed. Idiomatic aspects of composition that make Turrin's music attractive to performers are investigated and discussed.

Musikaliska associationer – vad händer i vårt inre när vi lyssnar på musik? Syftet med denna konstnärliga uppsats är att fördjupa mig i ämnet musikaliska associationer och dess koppling till musikteori. Ämnet är relativt outforskat och jag har därför valt att utgå ifrån mina egna erfarenheter och använda mina egna musikaliska associationer som grund. Studien tar avstamp i musikstycket Sonata for trumpet and piano av Eric Ewazen och genom litteraturstudier på tidigare forskning. Genom musikteoretisk analys och analys av mina musikaliska associationer av musikstycket diskuterar jag hur dessa hänger ihop och om det går att dra några teoretiska slutsatser utfrån mitt resultat. Två grundliga analyser gav mig slutsatsen att orsaken till musikaliska associationer kan bero på musikteoretiska faktorer i det specifika musikstycket, kombinerat med psykologiska faktorer så som musikalisk bakgrund, erfarenheter och privata kopplingar. Resultatet av min studie innebär en hjälp för kommande analyser och studier av mitt valda stycke eller andra musikstycken, förståelse för hur musikaliska assocationer uppstår och hur det hänger samman med musikteori och psykologi. / <p>Sonata for trumpet and piano - Eric Ewazen</p><p>Medverkande: Trumpet - Tuva Trygged Iko</p><p>Piano: Georg Öqvist</p>

The purpose of this thesis is to trace the history of the trumpet in chamber music through the first half of the 20th century. It aims to discuss the technical advances in the instrument and demonstrate the importance of the trumpet in this medium. Chamber music is defined, in this thesis, as all serious instrumental music for two or more instruments played with one instrument to a part. The selections have been chosen on the basis of recognized merit of the composer, the variety of instrumentation, and the availability of music.

This thesis examines the history of the use of trumpet and cornet, and analyzes their use in several Stravinsky pieces: Petroushka, The Rite of Spring, L'Histoire du soldat, and Ragtime. The study concludes that Stravinsky, at the time of the composition of the analyzed pieces, was instrumental in elevating the cornets and trumpets to a more important position in the orchestra.

The purpose of this thesis is to give the reader an insight into the development of solo trumpet literature as well as to present historical information concerning the development of the trumpet and the effect it had on the literature written for that instrument. Only music originally written for trumpet will be considered as the many transcriptions of older music that now appears are not characteristic of the idiomatic writing for trumpet at that time.

The purpose of this document is to examine the effects of learning music similarly to the way humans learn language to answer the following questions: (1) what are the correlations between language learning and music learning? and (2) how can the ideals of language learning be used to maximize the effectiveness of the music learning process? To achieve this, the stages of language acquisition is examined alongside Edwin Gordon's skill learning sequence to draw comparisons between the music and language learning processes. Examined materials include common beginning band method books and trumpet-specific materials. Common problems public school educators face, as well as solutions to those difficulties are addressed. The solutions are concepts inspired by the language learning process that can be utilized to maximize the learning at both the beginning and advanced stages of learning. A beginner level piece ("Lyra" from Trumpet Stars by H.A. Vandercook) and an advanced level piece ("Danse" from Incantation, Threne, and Danse by Alfred Desenclos) are examined thouroughly with these ideals in mind. In order to maximize results of the music learning process, incorporation of language acquisition ideals is necessary not only at the beginning of one's musical journey, but also into the later years of higher-level learning. Through this, a musician can achieve maximum results with any musical endeavor, ultimately presenting the true opportunity for expression through music.

In today's rapidly changing performing arts market, trumpet players are required to be more versatile than ever. Trumpet performing jobs are diversifying and for a trumpeter, employment often requires the multi-faceted skill set that includes the ability to perform in all styles and settings ranging from jazz to classical, solo to large ensemble and brass quintet. As the demand for the brass quintet medium has grown, the study of chamber music repertoire has also become a common requirement in collegiate music programs. However, coaching in chamber music is limited, sometimes to as little as one hour per week. This coaching time is generally in the format of a single coach instructing the full chamber group, and therefore one-on-one instruction/attention is limited or nonexistent, leaving the onus of learning on the students, for whom these collegiate chamber music ensembles are their first exposure to the medium. While students have ample access to concentrated instruction for orchestral, band, and opera excerpts through the multitude of existing excerpt books, such a resource for trumpet players learning brass quintet repertoire does not yet exist. The purpose of this project is to create a succinct guide to the performance of the trumpet parts of standard brass quintet repertoire.