The purpose of this research is to overcome stage fright through different techniques of thorough preparation in the practice room. The main methods discussed are mindfulness and mental training. Five selected orchestral excerpts have been prepared and performed using these methods, then presented as recordings in three different situations and analysed according to the performance quality that is then measured by percentage. From my research I deduct that mental training is an essential part of practising that leads to less stage fright and will increase performance results dramatically. / <p>Eduard Oja Piano Quintet</p><p></p><p>Medverkande: Anna-Lena Ohlwein, Doris Mägi, Viktoria Hillerud, Joline Granath</p>

abstract: Since 1913, some of the world’s finest trumpeters have utilized the advantages of specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets. In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers. / Dissertation/Thesis / Doctoral Dissertation Music 2016

Delphic Suite is a composition for orchestra that depicts specific events narrated in Homer's epic tale, Odyssey. For the purpose of this thesis the second movement, Raid on Ismarus, has been omitted so as to focus on the melodic, rhythmic, and harmonic structures of the first movement, Lament from Troy, and the third movement, Ruler of the Winds. Each of these musical parameters will be analyzed in order to illustrate the Suite's imitation of compositional techniques exemplified in the music of Homer's era, and the musical results obtained by juxtaposing those parameters upon a twentieth-century tonal scheme that provides the Suite with an eclectic ambience.

This study describes in detail the preparation that must be done by aspiring orchestral horn players in order to be sufficiently ready for an orchestral audition. The general physical and mental preparation, through to the very specific elements that require attention when practicing and learning a list of orchestral excerpts that will be performed for an audition committee, is investigated. This study provides both the necessary tools and the insight borne of a number of years of orchestral experience that will enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery thereof. Ten musical examples are included in order to illustrate the type of additional information that a player must gain so as to develop an in-depth knowledge of an excerpt. Three lists are presented within the text of this study: 1) a list of excerpts that are most commonly found at auditions, 2) a list of those excerpts that are often included and 3) other excerpts that have been requested but are not as commonly found. Also included is advice regarding the audition procedure itself, a discussion of the music required for auditions, and a guide to the orchestral excerpt books in which these passages can be found. / Dissertation (MMus)--University of Pretoria, 2007. / Music / unrestricted

Etudes have been composed to address the primary challenges found in ten selected euphonium wind band pieces. Each work was chosen based on its frequency of occurrence in military band auditions as well as its appearance in excerpt books and journal articles. Practice drills, practice variations, and overtraining studies are the primary concepts used for composing each etude. List of selected works: (1) Roman Carnival Overture Op. 9, Hector Berlioz; (2) First Suite in E-flat for Military Band Op. 28 No. 1, Gustav Holst; (3) Barnum and Bailey's Favorite, Karl King; (4) The Melody Shop, Karl King; (5) Aegean Festival Overture, Andreas Makris arr. Albert Bader; (6) Theme and Variations Op. 43 A, Arnold Schoenberg; (7) Festive Overture Op. 96, Dmitri Shostakovich arr. Donald Hunsberger; (8) Festival Variations, Claude T. Smith; (9) The Stars and Stripes Forever, John Philip Sousa; and (10) Suite from the Ballet: Pineapple Poll, Arthur Sullivan arr. Charles Mackerras.

No description available.

Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.

This anthology of late 19th- and early 20th-century Czech opera arias for soprano focuses on works that lack existing scholarship, bridging the language gap through translations and pronunciation materials for English-speaking singers. Its 24 arias supplement the works of Smetana, Dvořák, and Janáček with those of contemporaneous composers Karel Bendl, Zdeněk Fibich, Josef Bohuslav Foerster, Karel Kovařovic, Vítězslav Novák, and Otakar Ostrčil. Its musicological scope provides vignettes of the musical-cultural landscape of Czech opera around the turn of the 20th century, the transformation of Czech declamation during that period, and the language knowledge needed to sing the works thereof. Chapter 2 elucidates the methodology used in the anthology's phonetic transcriptions and discusses the unique articulatory demands of singing in Czech. Chapter 3 grounds contemporaneous discussion of Czech declamation as late 19th- and early 20th-century composers and librettists sought to shape a musical voice suited to the features of their language. The following chapter is a look at Janáček's unique solution to this challenge. In Chapter 5, the relationship between criticism and composition is examined for these two faces of Czech modernism. Finally, Chapter 6 includes new performance editions of the arias curated for the anthology. Each aria is accompanied by an idiomatic translation, an inline phonetic transcription and word-for-word translation, a brief biographical introduction of the composer, and background information contextualizing the aria and the work from which it is derived. The objective of the anthology is to facilitate a broader range of well-informed performances of Czech repertoire as well as the acquisition of Czech lyric diction for singers at various experience levels.

Detta är en studie som handlar om att förbereda sig inför en trumpetprovspelning till en symfoniorkester och en dokumentation av den processen samt en undersökning huruvida man kan få till ett rikare trumpetspel med erfarenhet och kunskap vad beträffar trumpetteknik, orkestertradition, repertoarkännedom och djupare förståelse kring musiken. Jag kommer att analysera två inspelningar jag gör med trumpetutdrag ur den symfoniska orkesterrepertoaren för att sedan komma fram till en avslutande tredje inspelning. / <p>Tidigare efternamn: Svensson</p>

This document facilitates the study of the bass roles, including the bass arias and recitatives that are in the Old Testament English oratorios of George Frideric Handel. This study is largely dependent upon the Chrysander editions of the oratorios, however both the Bärenreiter and Novello editions are consulted where available. This work may serve as a reference for bass soloists, or vocal pedagogues in selecting bass oratorio arias and recitatives, and in study for preparation of a bass role in one or more of the selected oratorios. Ten oratorios were selected for this study, based on their dramatic emphasis, Handel's more mature compositional style, and the use of the English language. While all arias are discussed, recitatives were selected on the basis that they stand-alone and are not in dialogue with another character. The study is limited to ten of Handel's Old Testament English oratorios: Esther (1718-20 version and 1732 revision), Deborah (1733), Athalia (1733), Saul (1738), Samson (1741), Joseph and His Brethren (1743), Belshazzar (1744), Joshua (1747), Solomon (1748), and Jephtha (1751). The study in concerned with the dramatic function of each aria and recitative within the plot of the oratorio, as well as the range, tessitura, literary rhyme scheme (if applicable), and tonal structure of each aria and recitative. Compositional devices that are used in melodic construction, level of difficulty, and maturity of voice needed for performance will be also be discussed for each aria and recitative. Chapter 1 of the study is the introduction to the dissertation, including objectives, delimitations, need for study, basic assumptions, and related literature. Chapter 2 discusses Handel's compositional development from Germany, while in Italy, and finally in England. Chapter 3 is concerned with a historical overview of the genre of oratorio. Chapter 4 focuses on the bass roles and the arias and recitatives within the selected oratorios. Chapter 5 concludes the dissertation, makes observations and directs for further study. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.