Detta arbete handlar om Paul Hindemiths sonat för trumpet och piano, närmare bestämt sats tre, som heter Trauermusik. Stycket skrevs 1939 under en turbulent tid, Hindemith flyttade till USA. Syftet med arbetet är att utgå från analys av notbild och två inspelningar för att bilda en egen uppfattning av stycket. Utgångspunkten är att få en egen tydlig bild av satsen innan jag själv spelar den. Genomförandet av analysen har skett med hjälp av noter från förlaget B. Schott’s Söhne, samt två inspelningar av verket från Capriccio Records där Reinhold Friedrich spelar och Harmonia Mundi där Jeroen Berwaerts spelar. Efter arbetet med analyserna fick jag förståelse för satsen och hur min tolkning är. Med en gedigen analys kunde jag göra medvetna musikaliskt grundade beslut. / <p>Inspelning från examenskonsert. Paul Hindemtith sonat för trumpet och piano, tredje sats. Love Nordkvist, trumpet samt Georg Öquist, piano.</p>

Orientador: Florivaldo Menezes Filho / Banca: Alexandre Roberto Lunsqui / Banca: Silvio Ferraz Mello Filho / Banca: Rogério Luiz Moraes Costa / Banca: Marcos José Cruz Mesquita / Resumo: Esta tese tem como objetivo traçar um panorama histórico sobre a evolução da técnica do trompete percorrendo uma linha cronológica que parte de Monteverdi e chega a Stockhausen com enfoque na relação compositor/instrumento/instrumentista. Inicialmente, apresentamos uma breve abordagem dos primórdios do trompete e apontamos a importância da obra Orfeo de Monteverdi, pois é a partir desta obra que o instrumento adentra a orquestra e começa a fazer parte do que poderíamos chamar de música "séria". O ápice deste processo culmina com a obra A Jornada de Miguel em Volta da Terra de Karlheinz Stockhausen, uma obra de porte e caráter monumental que coloca o instrumento em total evidência e explora a técnica expandida do instrumento, podendo ser considerada uma das obras mais representativas para o trompete no século XX / Abstract: The objective of this thesis is to trace a historic overview about the evolution of the trumpet technique throughout a chronological line which starts at Monteverdi and reaches Stockhausen with a focus on composer/instrument/interpreter. Primarily, we present a short context of the initial period and appoint the importance of the work Orfeo by Monteverdi, because this is the first time that the instrument integrates the orchestra in what we can call by art music. The summit of this process is the work Michael's Journey Round The Earth, by Karlheinz Stockhausen, a monumental work which explores the expanded technique and can be considered one of the most relevant work for trumpet solo in XX century / Doutor

abstract: Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition. The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension. The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities. The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work. / Dissertation/Thesis / Masters Thesis Music 2018

Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, orchestral and academic communities by way of providing an historical account of the commission project; showing insight into the composer's inspiration for the work; and providing a reduction of the orchestral score for trumpet and piano.

A study of the basic performance techniques used by cornet and trumpet specialists and the common problems encountered by cornet and trumpet players was made through reference to personal experience, personal interviews, and articles in journals, magazines, bulletins, and books. Three areas of performance were studied: (1) tone production, (2) intonation, and (3) technical development. It was found that there is usually more than one solution to a problem, and that each solution given must be individualized to meet each player's needs. Most of the problems players encounter can be prevented if one uses correct playing procedures while playing a quality instrument with a properly sized mouthpiece. To become a successful cornet or trumpet player, a student must follow and assiduous daily practice routine, must possess a concept of how a tone characteristic of the instrument should sound, must be able to form a correct embouchure, and must understand the problems of intonation.

My concept for this recital was to pay tribute to the trumpet lineage of Art Blakey and the Jazz Messengers. I owe a great deal to Blakey, as some of the trumpeters in this group are my biggest influences. Lee Morgan made such an impact on Bobby Timmons��� ���Moanin��� that future Messengers horn players would quote the beginning and ending of Lee���s solo. This tune became synonymous with the Jazz Messengers. Horace Silver���s composition ���Nica���s Dream��� was recorded on an album featuring trumpeter Donald Byrd. The beautiful Jerome Kern and Otto Harbach ballad ���Yesterdays��� was a personal favorite of Kenny Dorham. When Freddie Hubbard first heard Clare Fischer���s ���Pensativa��� he said he couldn���t get the melody out of his head and arranged it for the Messengers. Trumpeter Terence Blanchard���s composition ���Oh By The Way��� became a staple of the group���s repertoire. I composed ���The Jester��� and ���Das Dat��� in the hard bop style of the Jazz Messengers. / Mary Pappert School of Music / Music Performance / MM; / Recital;

Due to a break in its practice and pedagogy during the Classical and Romantic Eras, many misconceptions regarding the Baroque natural trumpet remain today. As newly discovered instruments and pedagogical materials have become known and disseminated, a resurgence in the performance of the natural trumpet has occurred, but its practice is still often conceived as wholly separate from modern trumpet technique. This study clarifies long-held misconceptions about the natural trumpet, describes its physical, pedagogical, and technical traits in comparison with the modern trumpet, and demonstrates that its concurrent practice with the modern trumpet is not only possible, but significantly beneficial. Qualities unique to the Baroque natural trumpet bestow upon it tremendous pedagogical potential for its simultaneous study with the modern trumpet. The possible benefits of this concurrent practice include increased embouchure strength, efficiency and endurance, the elimination of even badly entrenched negative habits, stronger fundamental abilities, and a better understanding of the performance of Baroque trumpet music. The plausibility of these pedagogical gains is evidenced by both modern and Baroque pedagogical literature, the scientific principles behind playing both types of trumpet, and the experiences of professional trumpeters who have demonstrated high levels of proficiency on both instruments.

This dissertation examines the repertoire for solo trumpet and electronics through a study of the genre as a whole and discussions of four compositions that represent its main stylistic approaches. An obscure but fascinating genre, current research in this area is limited to discussions of a few of its compositions in other dissertations and lecture recitals. By investigating this music, this dissertation will contribute to an area that has so far seen little research while promoting new repertoire that greatly expands the musical possibilities of solo trumpet performance. Based on the List of Compositions for Solo Trumpet and Electronics compiled by the author, several aspects of this repertoire are described in Chapter Two, including its development from 1965 to 2009 and the relative popularity of its different compositional approaches. The primarily academic background of this repertoire’s composers is discussed as well as the diverse nationalities they represent. The relative obscurity of this repertoire is suggested by the number of compositions for solo trumpet and electronics that have been published and recorded. A discussion of the aesthetic, qualitative and practical aspects of the repertoire is presented in Chapter Three. Based on interviews with leading performers of this repertoire and the composers of the pieces examined in this dissertation, this music is discussed from the perspective of musicians who have significant experience in this field. Their interviews illuminate several important issues that may not be apparent to musicians who are unfamiliar with this repertoire. Chapters Four through Seven discuss four representative compositions from the List. An overview of each piece is given, along with biographical information about its composer, a description of its electronic components, discussion of relevant performance techniques, and formal analysis of the composition. Conclusions based on this investigation and suggestions for future research are suggested in Chapter Eight.

This dissertation examines the repertoire for solo trumpet and electronics through a study of the genre as a whole and discussions of four compositions that represent its main stylistic approaches. An obscure but fascinating genre, current research in this area is limited to discussions of a few of its compositions in other dissertations and lecture recitals. By investigating this music, this dissertation will contribute to an area that has so far seen little research while promoting new repertoire that greatly expands the musical possibilities of solo trumpet performance. Based on the List of Compositions for Solo Trumpet and Electronics compiled by the author, several aspects of this repertoire are described in Chapter Two, including its development from 1965 to 2009 and the relative popularity of its different compositional approaches. The primarily academic background of this repertoire’s composers is discussed as well as the diverse nationalities they represent. The relative obscurity of this repertoire is suggested by the number of compositions for solo trumpet and electronics that have been published and recorded. A discussion of the aesthetic, qualitative and practical aspects of the repertoire is presented in Chapter Three. Based on interviews with leading performers of this repertoire and the composers of the pieces examined in this dissertation, this music is discussed from the perspective of musicians who have significant experience in this field. Their interviews illuminate several important issues that may not be apparent to musicians who are unfamiliar with this repertoire. Chapters Four through Seven discuss four representative compositions from the List. An overview of each piece is given, along with biographical information about its composer, a description of its electronic components, discussion of relevant performance techniques, and formal analysis of the composition. Conclusions based on this investigation and suggestions for future research are suggested in Chapter Eight.

Trumpet method books have existed almost as long as the trumpet itself. From Cesare Bendenelli collecting pedagogical information in the late 16th century, to the most recent publications, thousands of books have been written for the trumpet. Publishers including Carl Fisher, Belwin, Alfred, Charles Colin Music, M. Baron Company, and Alphonse Leduc offer over 400 trumpet method books containing studies on intonation, high-register, rhythm, orchestral excerpts, transpositions, solos, etc. With such a wealth of material, there is not one book containing trumpet excerpts from the wind band literature. This project seeks to fill this void by offering a compilation of 586 of the most popular and difficult trumpet excerpts from the wind band literature. In addition to the musical excerpts, each excerpt contains insights from some of the premier players in the wind band field. The aforementioned insights were applied to each excerpt to give the reader an easy-to-understand approach to learning wind band repertoire. As a result, this dissertation will serve multiple functions in the trumpet community, including promoting the wind band genre; teaching students important, yet neglected, works; developing healthy practice habits; presenting a more pragmatic application of higher musical study; and, of course, the identifying and organizing of difficult wind band literature for the trumpet. / School of Music