Abstract not available

The purpose of this study was to investigate the effects of trumpet playing upon the heart. A Holter monitor was used to record electrocardiograms (ECGs) to examine the heart's response during musical performances and practice sessions.

The present study does not attempt to present a complete or exhaustive survey of the myriad spatial orchestrational devices occurring in the symphonic and operatic repertoire. Rather, the study is limited to an examination of the specified use of the trumpet as an offstage instrument in selected representative works. The study's purpose is to identify trends in the use of this orchestrational device, to serve as an aid to the trumpeter in matters of interpretation, and to provide a practical reference for the solution of acoustical and technical problems common to the performance of spatially conceived music in the orchestral literature.

The study's purpose was to describe selected laryngeal activity of brass-wind players during the performance of selected musical exercises. Research problems included the observation and description of three internal areas of activity of ten trumpeters as they performed each exercise. Specific areas of observation were 1) movement of the epiglottis during the performance of each exercise, 2) movement of the vocal folds/arytenoid cartilage which includes changes in the size of the glottis during the performance of each prescribed exercise, and 3) movement of the thyroid cartilage during the performance of each prescribed exercise. Musical exercises performed by each of the subjects included a sound volume change, use of vibrato, single-tonguing, step-wise descending and ascending slurs, descending and ascending lip slurs, register change, and a descending chromatic scale. In addition, each subject performed an excerpt from the second movement of the Haydn Trumpet Concerto. Data were collected through direct observation of subject performances and then described using three different means. Data analyses revealed a prominent amount of highly individual, non-patterned laryngeal activity which played an integral role in the performance of each subject. Individuals including Law (1960), Cramer (1955), Jacobs (Stewart, 1987), and Noble (1964) have advocated an unrestricted airway during brass performance. Contrary to this advice, findings in the present study indicate that a great deal of varying, involuntary restriction is present in the laryngeal area during performance. Further, such activity appears necessary to brass performance. Others, including Farkas (1962), Schuller (1962), and Wick (1971) , have endorsed conscious use of the glottis during brass performance. While findings in the present study imply that there is a presence of voluntary or reflexive glottal activity during brass performance, evidence does not support any theory which suggests conscious use of the laryngeal mechanism.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Includes abstract. Vita. Adviser: John Hill. Includes bibliographical references. Available from Pro Quest Information and Learning.

The lecture was given on July 27th, 1981. The discussion dealt with two anonymous eighteenth-century works: a Symphonia, Anon. 32b in D for two trumpets, two oboes, two violins, viola and bassoon; and a Concerto, Anon. 3 in D for trumpet, three oboes, and two bassoons. Both works are from part-books, originally owned by the Prussian General Georg von Lilien (1652-1726), which are now part of the "Sonsfeld Collection" housed in the Bibliotheca Furstenbergiana at Schloss Herdringen, W. Germany. The lecture included an examination of the origin of the manuscripts, the historical background for the works, and aspects of mixed style in the music. It also contained an analytical discussion of each work. Both works were then performed. In addition to the lecture recital three other recitals of music for solo trumpet were given. The first recital was given on November 21, 1977 and included the Concerto for Trumpet by Johann Nepomuk Hummel, and works of Henry Purcell, Halsey Stevens, and Eugene Bozza. The second recital was presented on July 3, 1978. It featured the Concerto in A('(FLAT)) by Alexander Arutunian along with works of Georges Enesco, Jean Rivier, and Allen Molineux. The third recital included works of Ernest Bloch, J. G. B. Neruda, Alexander Goedicke, and Fischer Tull. It was given on March 3, 1980. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation, at North Texas State University library.

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 purpose of this document is to investigate how trumpet students at the University of North Texas experience music performance anxiety and to find out how professors prepare students for controlling music performance anxiety experiences. The interviewees were ten undergraduates and ten graduate students, as well as three trumpet professors who teach at the University of North Texas. The questionnaire responses of the student interviewees were examined, and literature is provided that address the most common performance related psychological and physiological symptoms experienced by the trumpet students. Effective and healthy strategies are discussed that were offered by the trumpet professors, and suggestions are made regarding potential benefits and detriments of trumpet performance anxiety.

The purpose of this study is to create a performer's guide for three separate pieces written by David Sampson. The first piece, Breakaway, is written for two trumpets and electronic accompaniment. The second piece is entitled Passage, and is written for muted flugelhorn and viola. The final piece for examination is the Sonata for trumpet entitled Triptych, a commission from the International Trumpet Guild in 1991. Although the number of compositions for trumpet has increased in the twentieth and twenty-first centuries, guides for the performer regarding pieces with unique instrumentation and internationally commissioned works extremely limited. Included in this study is an examination of the specific challenges found in Breakaway, Passage, and Triptych, with detailed consideration regarding the methods with which to execute the unique performance elements of each composition. In addition, the information found in this study will expand the number of twentieth and twenty-first century trumpet works that have been investigated in a formal research capacity.