No description available.

This composition, a three-movement work requiring a performance time of approximately thirteen minutes, is scored for Bb trumpet, percussion and string orchestra. A two-piano arrangement of the string orchestra section of the score is included in the work.

No description available.

The present study does not attempt to present a complete or exhaustive survey of the myriad spatial orchestrational devices occurring in the symphonic and operatic repertoire. Rather, the study is limited to an examination of the specified use of the trumpet as an offstage instrument in selected representative works. The study's purpose is to identify trends in the use of this orchestrational device, to serve as an aid to the trumpeter in matters of interpretation, and to provide a practical reference for the solution of acoustical and technical problems common to the performance of spatially conceived music in the orchestral literature.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Craig Timberlake. Bibliography: leaves 54-61.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2718. Adviser: Michael Ewald. Includes a finding aid for Claude Gordon's Personal Papers and Music Instrument Collection at the Sousa Archives and Center for American Music (leaves 127-201). Includes bibliographical references (leaves 91-94) Available on microfilm from Pro Quest Information and Learning.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (D.M.A.)--Ohio State University, 2007. / Full text release at OhioLINK's ETD Center delayed at author's request

abstract: ABSTRACT: The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam. Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region. The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music. / Dissertation/Thesis / Doctoral Dissertation Music 2016

The purpose of the study was to figure out a good and an effective way to learn how to master extended trumpet techniques in order to be able to play the piece Solus (1975) by Stanley Friedman (b. 1951) for unaccompanied solo trumpet. To gain a deeper understanding of the composer’s intentions, the study also includes a music analysis of Solus. Various methodological approaches were used: sheet music and performance instructions, own practice, digital tools, recordings, literature and trumpet method books. The results of the study indicate that five different extended trumpet techniques were identified and analysed. They were slide glissandi, flutter tongue, pedal tones, singing and open trigger. For slide glissandi, it was important to separate the technique into smaller portions, to first practice without glissandi in order to embody the music and then practice glissandi separately. For flutter tongue, airflow and a relaxed tongue were essential. Pedal tones require time to master and using trumpet method books was a great way to improve the pedal register. For singing in the third movement of Solus, it was useful to practice singing and even screaming, both in private and in front of an audience. The open trigger technique was mastered by practicing with a drone, using digital tools, and to practice playing the open trigger notes with open fingerings. It was very rewarding to master the extended trumpet techniques in the piece Solus and it will be of great use for any performer.