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Techniques are available today to attenuate the output sound of the trumpet. All of these techniques involve using passive mutes. Due to the limitations in the sound one can obtain with passive mutes, another solution, using active noise control, is proposed to predictably attenuate the output sound of the trumpet. With the new system, it is theorized any desired output sound can be obtained. Within this thesis a model of the trumpet physics is derived and an investigation of the implementation of two analog feedback controllers and two digital LMS controllers is performed. The model of the trumpet mechanics is studied to understand the trumpet system before applying the control systems. Analysis is performed on the type and the location of the acoustic control actuator and the error sensor to be used. With the chosen actuator and sensor, the two types of controllers are designed and realized. The farfield spectrum of the trumpet's response to a single note is analyzed for each controller and the resulting attenuations compared. The model of the trumpet system is then used to demonstrate the coupling of the trumpet and the player and to show the effects of the controllers on the behavior of the player's embouchure. With the inclusion of the controllers in the trumpet system, the farfield spectrum was successfully attenuated at two harmonics of the tone passed through the trumpet. Testing was not performed with an actual trumpet player due to the high sound pressure levels (160 dB SPL) required from the control actuator. From a derived model of the control actuator, specifications for an acoustic driver capable of delivering the high sound pressure level were calculated. Design and fabrication of the proposed actuator will be completed during future work. / Master of Science

Syftet med denna studie är att beskriva relevansen av och eventuella samband mellan utvalda faktorers inverkan på trumpetelevers val av instrument och på deras fortsatta spelande i musik- och kulturskolor. Detta görs genom att beskriva både vad som påverkat eleverna i deras instrumentval och vad som varit viktigt för deras fortsatta spelande och intresse. Därefter undersöks om det finns några samband mellan dessa viktiga faktorer. Studien undersöker också föräldrars upplevda stöttning och om den har något samband med elevernas övningsfrekvens. Studien försöker dessutom också belysa hur elevernas intresse för sitt instrument ser ut genom att undersöka vissa faktorers relevans i relation till intresset, men också i jämförelse med andra instrument som brukar erbjudas på musik- och kulturskolor. Detta görs genom att både undersöka var intresset kommer ifrån samt hur de upplever att intressegraden ser ut idag jämfört med när de började spela. Tidigare forskning i området har ofta varit inriktad på lärarens perspektiv eller en allmän syn på undervisning. Avsikten med denna studie är dock att undersökningen görs ur elevernas synvinkel. Studien genomfördes utifrån ett positivistiskt kvantitativt förhållningssätt och urvalet består av trumpetelever samt deras föräldrar. Resultatet visar att både trumpetens egenskaper som ljud och klang samt läraren är viktiga faktorer för att elever ska börja spela. Musik- och kulturskolors instrumentprovardagar är också en bidragande faktor. Resultatet visar även att det inte finns några idoler som skapat intresset hos någon av eleverna, utan intresset har snarare kommit från lärare, familj och kompisar. Att ha provat spela trumpet tidigare är också en viktig faktor. En reflektion är att studien kan antyda på att föräldrar kanske underskattar sin egen inverkan på eleverna, både i valet av instrument, men även för det fortsatta intresset. / The purpose of this study is to describe the relevance of the influence and possible correlations of selected factors on trumpet students choice of instrument and their continuous playing at community music schools. This is done by describing both what influenced the students in their choice of instruments, and what was important for their continued interest. Thereafter, any possible correlations between these important factors are examined. The study also examines parents estimated support and whether it has any connection with the students' practice rates. The study also examines students interest in instruments at community music schools by examining the relevance of the impact of certain factors on the interest, but also in comparison with other musical instruments. This is pursued by both uncovering where the interest came from and how they perceive their own interest at present compared to when they started playing. Previous research in this field has often been focused on the teacher's perspective or on a general view of teaching. In contrast, this study should be able to show trumpet students point of view. The study was conducted on the basis of a positivist quantitative approach and the selection consists of trumpet students and their parents. Results show that both the characteristics of the trumpet, for example the sound colour, as well as the teacher, are important factors for students to start playing this instrument. Testing days on music schools are also a contributing factor. Results also provides fact to that there are no idols that created the interest of any of the students, instead the interest has mostly come from teachers, family and friends. Having tried to play the trumpet in the past is also an important factor. A reflection that this study may suggest is that parents may underestimate their own influence on students, both in the choice of instruments, but also for the continued interest.

The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences. / School of Music

Föreliggande studie inriktar sig på hur jag som student i en viss kulturell och social struktur påverkas inlärningsmässigt och uttrycksmässigt i musikundervisningen av att komma till en musikalisk miljö där andra kulturella och sociala strukturer är normativa. Studien är etnografiskt inspirerad och utgår från en statisk-dynamisk analysteknik där videoinspelningar och loggboksanteckningar ligger till grund för det insamlade material som analyseras. Resultatet behandlar de aktiviteter som spelat stor roll, både negativt och positivt, i min musikaliska, sociala och personlighetsmässiga utveckling och beskriver också hur dessa aktiviteter förändras under studiernas gång. De aktiviteter som spelat stor roll under utlandsstudierna är främst mina trumpetlektioner, med kommunikation, teknik och musikaliska uttryck som underrubriker, det sociala livet i och utanför skolan och min musikaliska resa utanför skolan. I diskussionen tar jag bland annat upp den förvirring och frustration som mina trumpetlektioner skapade och hur mina inledande ensamhetskänslor låg till grund för min personliga utveckling. Jag diskuterar också vikten av att vara en del av ett tryggt socialt sammanhang och hur mitt sociala liv påverkade min inlärning. / The study focuses on how I as a student in a certain cultural and social structure am affected both learning and expression wise in the music education by entering a musical environment where other cultural and social structures are normative. The study is ethnographically inspired and based on a static-dynamic analysis technique where video recordings and reading logs is the underlying material. The result shows the activities that have played a major role, both negatively and positively, in my musical, social and personal development and also describes how these activities change during the time of the study. The activities that have played a big role during my studies abroad are primarily my trumpet lessons, with communication, technique and musical expressions as subheads, the social life in and outside of school and my musical journey outside of school. In the discussion I describe and discuss the confusion and frustration that my trumpet lessons created and how my initial feelings of loneliness was the base of my personal development. I also discuss the importance of a secure social context and how my social life affected my learning.

155 f.:il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T11:32:33Z No. of bitstreams: 2 Tese Ayrton Benck Filho parte 2.pdf: 3896333 bytes, checksum: 3865f1a0aa8629b677f1369253f78e1f (MD5) Tese Ayrton Benck Filho parte 1.pdf: 6370546 bytes, checksum: e40290dbb222878705068e61a830ce0a (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T15:09:41Z (GMT) No. of bitstreams: 2 Tese Ayrton Benck Filho parte 2.pdf: 3896333 bytes, checksum: 3865f1a0aa8629b677f1369253f78e1f (MD5) Tese Ayrton Benck Filho parte 1.pdf: 6370546 bytes, checksum: e40290dbb222878705068e61a830ce0a (MD5) / Made available in DSpace on 2013-03-22T15:09:41Z (GMT). No. of bitstreams: 2 Tese Ayrton Benck Filho parte 2.pdf: 3896333 bytes, checksum: 3865f1a0aa8629b677f1369253f78e1f (MD5) Tese Ayrton Benck Filho parte 1.pdf: 6370546 bytes, checksum: e40290dbb222878705068e61a830ce0a (MD5) Previous issue date: 2008 / Esse estudo oferece características sobre o processo prático-interpretativo do Frevo-de-Rua pelos trompetistas profissionais no Recife. A caracterização faz-se através da pesquisa de survey entre os trompetistas e entrevistas semi-estruturadas com os alguns dos principais maestros de frevo no Recife. Como objetivo específico, visa verificar a existência da recorrência na escolha de estratégias prático-interpretativas do gênero. Sendo assim, delineia-se um estilo prático-interpretativo dos trompetistas de frevo-de-rua, descrevendo alguns de seus processos de realização dos parâmetros interpretativos: andamento, articulação, acentuação e dinâmica. Também são examinadas várias características importantes aos intérpretes músicais interessados a formar um ou ampliar seus conceitos interpretativos do gênero. Essa caracterização envolve: aspectos sociais, enfocando o frevo dentro de seu ambiente social; aspectos históricos, levantando alguns dos fatos importantes para o frevo-de-rua; aspectos musicais, examinando as origens, classes, conjuntos instrumentais característicos e uma análise de seus elementos estruturais. / Salvador

Nutida musik kan initialt upplevas som svåråtkomlig men upplevelsen kan förändras till mycket intressant och känsloväckande med hjälp av kunskap som en väg in i musiken. Detta arbete handlar om att lära sig förstå, ta till sig och interpretera nutida musik samt om samarbetet mellan musiker och kompositör och målet är att på så sätt utvecklas som musiker och som lyssnare. Den nutida musiken har utvecklats under 1900-talet och formats av avsteg från traditionen i form, harmonik och rytm, två världskrig, politiska strömningar och den elektroniska teknikens utveckling. Musikern i projektet heter Emma Granstam och studerar tredje året på kandidatprogrammet klassisk musik med inriktningen trumpet på Kungl. Musikhögskolan och kompositören i detta projekt heter Ylva Fred och studerar komposition på Kungl. Musikhögskolan i Stockholm. Under hösten 2017 genomfördes några möten mellan musiker och kompositör där musikaliska tankar och idéer och trumpeten som instrument med dess kvaliteter och begränsningar diskuterades, utforskades och testades. Som resultat av mötena skrev kompositören ett stycke, At night, stars will show. Stycket repeterades och studerades in för att framföras på examenskonsert i maj 2018. Samarbetet mellan musiker och kompositör har varit mycket lärorikt och har bidragit till en ökad förståelse och uppskattning för nutida musik hos musikern. Samarbetet har gett mersmak för liknande projekt i framtiden.

The Octuor pour instruments a vents (or Octet), written in 1922-1923 by Igor Stravinsky, is a piece in three movements for a curious assortment of instruments: two trumpets, two trombones, flute, clarinet and two bassoons. It is one of four influential chamber works for winds by Stravinsky to include trumpet. Of these pieces, the Octet contains the fewest number of players but is no less complex and important in Stravinsky's oeuvre. The Octet helped mark the beginning of the neoclassical period in twentieth-century music. Chapter 2 examines the life and musical background of the composer. It also reveals the history surrounding the origin of the Octet and its role in neoclassicism. Chapter 3 discusses the role of the Octet in the wind ensemble and orchestral repertoire, and includes a representative performance history, including the premiere. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 provides suggestions regarding style in Stravinsky's music, including interviews with important figures in the trumpet world. Chapter 6 concludes the guide with specific suggestions regarding preparation and performance of the Octet.

The lecture was given on April 23, 1979. The discussion consisted of an exploration of the history and derivation of the Baroque idiomatic technique for trumpet to which Handel was heir. Consideration for Baroque performance practice is included along with stylistic and formal analyses of the trumpet arias that were performed. Four works were rendered; they were selected on the basis of their adaptability to the recital situation. The first recital was presented on April 24, 1970, and included solo works of Giuseppe Torelli, Geoffrey Robbins, Marcel Poot, Halsey Stevens, and Fanfares Liturgiques by Henri Tomasi which featured Mr. Morley as conductor of a sixteen member brass choir. The second recital, on February 18, 1971, featured solo works by von Oskar Bohme, Roger Goeb, Robert Weast, Merrill Ellis, and the Septet fur Biasinstrumente by Paul Hindemith. The third recital included solo works of Paul Hinderoith, Kent Kennan, Georges Enesco, and Marcel Bitsch, and was presented on August 16, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.