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Devido à longa tradição da arte de tocar trompete e da evolução que ocorreu com o instrumento ao longo dos séculos, o trompete passou a ser utilizado como instrumento de referência na família dos metais, bem como a ocupar posição de solista em recitais e concertos. Técnicas para seu aprendizado foram criadas e aperfeiçoadas com mais rapidez e passou a ser utilizado em outros estilos musicais, particularmente no Jazz. O caminho que indicamos para a formação técnica e musical de um trompetista é o mesmo, independentemente do estilo em que pretenda atuar. Um trompetista sem formação técnica e sem cultura musical consegue tocar, mas não consegue se expressar. / Owing to the long tradition of the trumpet playing art and the instruments evolution over the centuries, trumpet has become a reference in the brass family and it has occupied a soloist position in recitals and concerts. Learning techniques have been more rapidly created and perfected, and its use has been extended to other musical styles, especially Jazz. The path we recommend to a trumpeter for acquiring their musical and technical qualification is the same, regardless of their style of choice. A trumpeter with no technical qualification and musical culture may be able to play, but they will not be able to express themselves.

A performance no trompete apresenta, além do contexto estético e musical, considerável componente físico, uma vez que o instrumento amplifica os sons \"produzidos\" pelo corpo. Neste ponto, o trabalho coordenado das diversas estruturas corporais (físicas e orgânicas) empregadas na execução do trompete exige do músico certo grau de desenvolvimento físico. O objetivo da pesquisa pauta-se na análise destas estruturas sobre uma proposta de atividades físicas, em sentido a manter e melhorar a performance no instrumento. Em um primeiro momento procura-se definir a atividade física em seu âmbito geral, benefícios, possibilidades de trabalho e atuação de profissionais. Tais conceitos são empregados posteriormente na análise dos diversos fatores utilizados no âmbito da performance, tais como a respiração, identificando as principais estruturas pulmonares e a respiração aplicada a performance; o \"aquecimento\" como preparação para atividade, com o exame de tradicionais estudos calistênicos; e a embocadura, desde pontos simples como dentes e ossos, até temas mais complexos como coluna de ar, vibração labial, vocalização e projeção. Todos estes temas sempre baseados em literatura e metodologia específicas do instrumento e de áreas congêneres ao assunto. A parte derradeira fica a cargo da pesquisa de campo, onde instrumentistas de sopro são questionados sobre diversos pontos do estudo/performance. Em linhas gerais, a análise demonstrou que 68% da população optam pela atividade física, e que 46% têm a mesma como forma de condicionamento para fins de saúde. Na parte específica dos instrumentos de sopro, os exercícios técnicos mais apontados são à respiração (35%), notas longas (17%) e a flexibilidade (11%). Dentre as exigências físicas mais proeminentes sobre a prática, a capacidade pulmonar é o ponto de maior consenso (53%), seguido da resistência muscular (21%). Após análise entre teoria, exemplos musicais e dados práticos coletados, conclui-se que atividade física auxilia na prática instrumental, em sentido a minimizar as exigências físicas impostas aos músicos. Apresenta-se em sequencia uma proposta de exercícios físicos baseada nos principais pontos utilizados no desempenho. Esta fica a critério de exercícios de alongamento, atividades aeróbicas (andar, correr, nadar) e ações de sobrecarga; nas questões específicas podem ser aplicados exercícios fonoaudiológicos simples e metodologia pertinente a cada instrumento. / The performance on the trumpet presents, besides the musical and aesthetics context, considerable physical component, considering the instrument as an amplifier of the sound \"produced\" by our body. At this point, the coordinated work of several body structures (physical and organic) employed on trumpet performance demands from the player high levels of physical development. The objective of this research denotes the analysis of these structures about a physical activities propose, in a way to maintain and improve trumpet\'s performance. First, we define physical activity in general focus; benefits, possibilities of work and professional attendance. The concepts explained before are now employed on the analysis of other factors, considering the performance environment, such as breathing, identifying main lung structures and the breathing process applied to performance; the \"warm-up\" as a preparation to the activity, with analysis of the traditional calisthenics exercises, the embouchedure, since simple points (teeth and bones) until more complex subjects like air column, lip vibration, vocalize and projection. Everything based on the specific methodology of the trumpet and related areas. The last part is presented by the public research, where wind players are interviewed about all aspects of performance and study. In general, the interview shows us that 68% of the population choose the physical activity, and 48% place it for health purpose. On the specific instrument themes, the most answered exercises are breathing (35%), long notes (17%) and flexibility (11%). About the main physical demanding on practice, the lung capacity is the point of consensus (53%), followed by muscular endurance (21%). After an explanation among points from theory, musical examples and collected dates from the interviews, we conclude the physical activity as a useful toll to decrease the physical demanding faced by the players. In such way we present a propose with physical exercises based on the main body functions employed on performance. It is based on stretching exercises, aerobic activities (walking, running, swimming) and weight-lifting actions; specific procedures of each instrument may be applied, as well simple speech science exercises.

Devido à longa tradição da arte de tocar trompete e da evolução que ocorreu com o instrumento ao longo dos séculos, o trompete passou a ser utilizado como instrumento de referência na família dos metais, bem como a ocupar posição de solista em recitais e concertos. Técnicas para seu aprendizado foram criadas e aperfeiçoadas com mais rapidez e passou a ser utilizado em outros estilos musicais, particularmente no Jazz. O caminho que indicamos para a formação técnica e musical de um trompetista é o mesmo, independentemente do estilo em que pretenda atuar. Um trompetista sem formação técnica e sem cultura musical consegue tocar, mas não consegue se expressar. / Owing to the long tradition of the trumpet playing art and the instruments evolution over the centuries, trumpet has become a reference in the brass family and it has occupied a soloist position in recitals and concerts. Learning techniques have been more rapidly created and perfected, and its use has been extended to other musical styles, especially Jazz. The path we recommend to a trumpeter for acquiring their musical and technical qualification is the same, regardless of their style of choice. A trumpeter with no technical qualification and musical culture may be able to play, but they will not be able to express themselves.

abstract: Joseph Turrin’s compositions for trumpet are frequently performed, and have become a large part of the trumpet repertoire. His trumpet works are played at events such as International Trumpet Guild conferences, have been featured with many well-known orchestras and bands, and are standard recital works. Many of Turrin’s trumpet works have been performed and recorded by well-established musicians, which include Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom. This study examines in detail each of Joseph Turrin’s twenty-four published works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada, Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits, Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan, and Thomas Hooten. A complete history of each composition and arrangement, and information relating to their premieres are presented. Technical elements from the music are discussed, such as range, articulation, melodic contour, endurance, and difficult fingerings. Biographical information such as youth, education, and career about Turrin are incorporated, along with a discussion of his compositional characteristics and influences. In addition, a list of each work with an assigned difficulty grade, as well as a current discography, is included. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Cette thèse vise à établir différentes relations et différents liens musicaux, ainsi que des évolutions, dans le cadre de la guerre antique, en d'autres termes, il s'agit d'établir des parallèles entre la musique militaire et d'autres musiques guerrières. Pour ce faire, elle se concentre en priorité sur la musique militaire qui forme le fil conducteur de l'ouvrage. On étudie en particulier beaucoup la musique de trompette, en se posant les questions suivantes : la musique militaire a-t-elle pu être à l'occasion artistique ? A-t-elle pu servir à se détendre ? Quelles sont les constantes et les évolutions de la musique militaire et des instruments de musique militaire au cours de l'antiquité grecque et romaine ? A cette fin, toutes les sources anciennes qui traitent de la musique en général et de la musique militaire sont mentionnées. Les sources historiques et philosophiques sont prises aussi en considération, ainsi que les traités de musique (Aristide Quintilien, Philodème de Gadara). Les instruments sont passés en revue : trompette, aulos et tibia, lyre et orgue hydraulique. Un chapitre est consacré aux musiciens de l'armée et aux guerriers musiciens. Les hymnes delphiques d'Athénaios et de Liménios sont étudiés, ainsi que le fragment épique d'Oslo. / This thesis aims to define different relations and different musical links, and some evolutions as well, in the framework of the ancient war, in other words, it means to establish parallels between military music and other warlike musics. For that, this thesis focuses principally to military music which forms the principal line of the work. We particularly study a lot of trumpet's music, and we answer or define the following questions : had military music been for occasions artistic music? Or music for relaxation? What are the common points and evolutions of military music and military music instruments along greek and roman antiquity?To treat these subjects, all the ancient sources which are concerned by antic music generally and military music particularly are mentioned. Historic and philosophic sources are taken in consideration too, and musicologic books as well (Aristide Quintilien, Philodème of Gadara). Music instruments are studied : trumpet, aulos and tibia, lyre and hydraulic organ. A chapter is dedicated to the warfare musicians. The delphic hymns of Athenaios and Limenios are studied, and the epic fragment of Oslo as well.

For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.

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Sonate for trumpet and piano / Paul Hindemith -- Stucke im Volkston, op.102 for cello and piano / Robert Schumann -- Hungarian dances for piano, four hands / Johannes Brahms -- Grand duo concertant, op.48 for clarinet and piano / Carl maria Von Weber / text

The purpose of this study was to determine whether deep-cryogenic freezing produces a change in the timbre or playing characteristics of brass trumpets. The experimental procedure consisted of two parts: quantitative analysis and qualitative analysis. For qualitative analysis a panel of four professional trumpet players evaluated five trumpets: four were frozen and re-evaluated, and one served as the experimental control. Analysis of the harmonic spectra of tones from each instrument provided quantitative data. Since previous studies requiring the analysis of musical instrument tones have suffered from a high degree of variation among tones played by human performers, I constructed a mechanical device that could play tones on the test instruments with greater consistency than is possible with live performers.The changes observed in the qualitative and quantitative analyses are very small, and possibly contradictory. The test panel rated all of the instruments higher after they had been frozen, and any actual improvement in the playing characteristics is suspect because the control instrument received the second highest improvement of the five instruments in the study. In the quantitative analysis, I observed some slight changes in the amplitudes of some of the harmonics in the spectral graphs, but I also observed slight variations in some of the harmonics of the control instrument. Inconsistencies in the performance of the electronic equipment used in the study could account for some of the variation. The instrument that showed the most statistically significant improvements was rated significantly higher in intonation after cryogenic processing, but I was unable to measure any frequency changes in the tones the mechanical embouchure played on the test instruments.Although one may not actually be able to measure differences reported in the qualitative analysis, it is not possible to rule out any acoustical change from cryogenic freezing. In fact, in the quantitative measurements, three of the instruments showed changes greater (some positive and some negative) than the "experimental error" seen in the control instrument's measurements. Additionally, one member of the test panel is convinced that cryogenic freezing has improved his instrument significantly, but the other three trumpeters are ambivalent. / School of Music