Thesis (D.M.A.)--University of North Texas, 2001. / Accompanied by 4 recitals, recorded Mar. 30, 1998, Mar. 29, 1999, Nov. 27, 2000 and July 23, 2001. Includes bibliographical references and discography (p. 157-163).

abstract: The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given. / Dissertation/Thesis / D.M.A. Music 2011

abstract: Every year hundreds of aspiring musicians audition for positions with professional orchestras throughout the United States. This study is designed to provide a comprehensive look at professional orchestral auditions for trumpet. While other resources rely on the single opinion of their author, this study gathers information from a broad range of sources to develop its conclusions. This project was completed in three phases. In the first phase, lists of excerpts from trumpet auditions were compiled. In the second phase, an online survey of musicians who have served on a trumpet audition committee was conducted. In the final phase, four principal trumpet players of major orchestras and one conductor were interviewed to look further into the criteria and procedures used in orchestral trumpet auditions. The results of this study can be grouped into four categories: the desired qualities sought in a trumpet audition, common mistakes and concerns for those taking auditions, common mistakes and concerns for audition committees, and a discussion of the top fifteen excerpts asked in auditions. The data from this study can be used to consider two different perspectives: what does an aspiring trumpet player need to do to win an audition? And also, what should a committee want to hear? Although there is a broad range of opinion when considering trumpet auditions, certain standards remain. Also, while most of those involved in this study agree that the audition process is among the fairest ways to determine the winner of a job with an orchestra, they also agree that significant changes to the process still need to be made. This is especially true with reference to the types of excerpts asked and the audition procedures used. / Dissertation/Thesis / D.M.A. Music 2012

abstract: This thesis proposes an augmentation of the Complete Method for Trombone by Jean Baptiste Arban. Although it is widely considered one of the leading trombone method books in the world, a thorough consideration of the demands of most performed solo literature today reveals serious shortcomings in the Arban Method for preparing trombonists to encounter such demands as meter and rhythm, keys and tonalities, range and endurance, clefs and F-attachment usage. This thesis thus proposes additions for a new version of the Arban Method that better aligns with the playing demands of the most performed solo literature today, as compiled by the International Trombone Association Journal since 1972. / Dissertation/Thesis / Doctoral Dissertation Music 2018

The "Concerto for Trumpet" by Henri Tomasi is a work which has enjoyed increasing popularity in recent years. Two recordings of the concerto have been made by the French performers, André and Thibaud, and while it has been a part of the standard repetoire in France for a number of years, its popularity in the United States has been fairly recent. This concerto has gained a secure place in the trumpet repetoire for American performers, and it has been performed with some frequency at the conventions of the International Trumpet Guild. In spite of the recent interest in this work, very little has been written about the Concerto, and information in the English language on Tomasi's life and musical works is very limited. It is the intention of this study, therefore, to provide a better understanding of the Concerto for Trumpet by Henri Tomasi with the goal of directing the performer toward a more informed and authentic performance of this important work for trumpet. In order to provide a thorough understanding of Tomasi's Concerto, this study will first examine the area of French trumpet music, both orchestral and solo, and its relationship to the work. The second section of this project deals with the life and work of the composer which is followed by an analysis of the Concerto.

The principal objective of this dissertation is to discuss music for unaccompanied trumpet and trumpet and tape composed after 1965. The discussion of these works will emphasize a method of preparation for each work. New techniques and effects that modern-day trumpet players will need to master will be pursued with relationship to each composition under consideration. Each chapter is dedicated to one composition. The introductory chapter discusses the execution of difficult leaps which is one of the most common challenges in the majority of modern trumpet music. Technique books and general suggestions in the improvement of this technique are emphasized. Chapter II features comments on Malcolm Arnold's Fantasy for Flat Trumpet which is the most "traditional" composition of the five works being surveyed. In Chapter III, Robert Henderson's Variation Movements, 1967 is discussed. The work has components of serialism which give way to tonally motivic material. The piece lends itself to a detailed analysis, although, for this purpose, a rather general discussion with some detail will make the musical decisions clearer. The fourth chapter discusses Stan Friedman's Solus. This composition features the use of pedal tones, aleatoric events, the open-tubing technique, tremolos, and slide glissandi. Some analysis as well as practice and performance suggestions are included in this chapter. Chapter V focuses on a work by John Elmsly entitled Triptych for trumpet and tape. In addition to some analysis of the work there are performance suggestions to enable synchronization between trumpet and tape. Chapter VI features Lucia Dlugoszewski's Space is a Diamond, the most experimental composition of the five being discussed. Innovative techniques utilized in the work include percussive bubble, glissando, flutter-tonguing, ricochet glissando, flap-tonguing, and whistle tone. New notational indications are also discussed. The examination of these compositions demonstrates increased technical demands and analytical skills that will be required by trumpet players / Arts, Faculty of / Music, School of / Graduate

Harold Shapero’s Sonata for Trumpet in C and Piano is a significant work that it is rarely performed and studied. Shapero’s composition contains musical attributes that demand artistically accurate choices if the style of this jazz-influenced sonata is to be achieved. Written in 1940 in dedication to Aaron Copland, the Sonata for C Trumpet and Piano makes use of a variety of stylistic influences, blending those of early 20th century jazz with Stravinsky-influenced neo-classicism. The intent of this study is to examine the unique performance practice implications and musical considerations of Harold Shapero’s Sonata for C Trumpet and Piano in correlation to the composer’s implementation of jazz idiomatic elements within the constructs of neo-classicism. The first section of this study examines the historical context necessary for understanding the social and musical conditions of the early to mid 1940s. The second section addresses the musical elements that characterize this work; the primary focus of this section is an exploration of Harold Shapero’s implementation of jazz idioms into his first composition for trumpet. The final section of the study interprets the utilization of idiomatic jazz elements within the work so as to allow the trumpet player with little jazz experience to accurately perform the piece.

Till Millennial Kingdom is a single-movement composition, eleven minutes in length, combining a trumpet, three percussionists, and tape. Throughout this text, use of the word "tape" will refer to pre-recorded audio on compact disk. This is also a programmatic composition, in that it uses music to depict a non-musical event. The form and instrumentation of Till Millennial Kingdom create a musical depiction of natural and supernatural events as they relate to biblical prophecy. The trumpet makes a significant thematic contribution throughout the work and particularly during the end of the piece. The use of percussion grants an element of rhythmic agitation, and the tape part provides a musical canvas upon which all sonic elements of the work are arranged. The combination of percussion and electro-acoustic gestures represents the programmatic concept of wrath and tribulation. Ironically, the closing stages of this work musically represent the beginning of eternity.

Arvo Pärt's Concerto Piccolo über B-A-C-H for trumpet, strings, harpsichord, and piano is a brief yet challenging work in the trumpet repertoire. A carefully articulated performance guide is necessary to aid trumpeters in overcoming the numerous musical challenges presented in this piece. Currently, there is no resource that helps in solving performance choices and difficulties in this work. This first section of this document provides historical and contextual information on Arvo Pärt, his compositional output during his experimental period, and subsequently, Concerto Piccolo. The second section includes a performance analysis of the work, while the third gives trumpet players pedagogical suggestions and practical exercises for proper preparation of Concerto Piccolo. This guide presents performers with relevant background, analytical, and pedagogical information required for an informed and high-level performance.

Samuel Barber's Capricorn Concerto for flute, oboe and trumpet with strings is an important though seldom performed work. The concerto is teeming with performance choices that are indicative of both historical and contemporary influences. At present, there are limited resources available to performers regarding Capricorn. The first section of this study presents an historical and contextual examination of Capricorn both in terms of Barber's own compositional output and that of his influences and contemporaries. The second section includes a performance analysis of the work, while the third section includes an analysis of existing recordings. Implications for the performer are outlined in last section. The guide provides performers with pertinent background, analytical and performance information in order to facilitate informed, high-level performance.