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<p>Musik: Nick Klaman</p><p>1.Devil's Dance, 2. Letters From Barcelona, 3. Tata, 4. Life On Planet Mars, 5. All I Could Think About Was Her, 6. Interlude</p><p>Medverkande:</p><p>Nick Klaman - Trumpet, Johan Christoffersson - Altsaxofon, Filipe Raposo - Piano, Samuel Löfdahl - Kontrabas, Hannes Sigfridsson - Trummor</p><p></p>

Thesis (D.M.A.)--University of Oklahoma, 1999. / Includes bibliographical references (leaves 143-154).

"The orchestral trombonist's guide to the bass trumpet and its excerpts." / text

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 12, 2004, June 3, 2004, June 14, 2005, and Mar. 10, 2008. Includes bibliographical references (p. 36-37).

abstract: The normal playing range of a brass instrument includes a definitive stopping note in the instrument's low register. However, players have the ability to manipulate their lips to extend the low range beyond this point; notes sounding below an instrument's normal playing range are called pedal tones. The history of pedal tones in trumpet performance and pedagogy has long been a source of confusion and misinformation. Consequently, this paper also discusses the educational value of using pedal tones, includes a brief history of players and teachers who have formulated pedal tone exercise methods, and examines their use within the six most influential method books that promote the use of pedal tones. The six books are Original Louis Maggio System for Brass by Carlton MacBeth, Double High C in 37 Weeks by Roger Spaulding, Systematic Approach to Daily Practice by Claude Gordon, Trumpet Yoga by Jerome Callet, James Stamp Warm-Ups +Studies by Thomas Stevens, and The Balanced Embouchure by Jeff Smiley. / Dissertation/Thesis / D.M.A. Music 2014

Master of Music / Department of Music, Theatre, and Dance / Major Professor Not Listed / LUCAS CHARLES JOHNSON Trumpet Repertoire: A Report on the Trumpet Solo Literature by Bitsch, Hovhaness, Ketting, and Haydn (Under the direction of JIM JOHNSON) This report provides analysis of Marcel Bitsch’s Quatre Variations sur un Theme de Domenico Scarlatti, Alan Hovhaness’ Prayer of Saint Gregory, Otto Ketting’s Intrada, Joseph Haydn’s Concerto for Trumpet in E-flat Major. This report contains four chapters, one devoted to each piece. Chapters include the composer’s biographical information, historical significance (if applicable), theoretical analysis, and performance considerations.

This document examines the works by Sir Harrison Birtwistle that feature the trumpet as a solo instrument, with extra emphasis placed on The Silk House Tattoo. This document also features a performance guide for the trumpet parts of The Silk House Tattoo. Pedagogical methods for learning the most challenging passages are evaluated, and daily exercises based on the specific demands of each excerpt are offered.

The lecture was given on March 3, 1974. The discussion of the Bolognese trumpet works consisted of an exploration of the local agencies that nurtured the compositional activity centered around San Petronio, biographical details of the principal composers, and stylistic and formal analyses of the works that were performed. Selections were performed from the early, middle, and late segments of the period, represented by the composers Maurizio Cazzati, Petronio Franceschini, and Giuseppe Torelli. In addition to the lecture recital three other public recitals were given. Two of these consisted primarily of solo literature for the trumpet, and the third featured chamber music with trumpet. The first solo recital was presented on July 31, 1972, and included works of Tommaso Albinoni, G. Ph. Telemann, Thérèse Brenet, and Wayne Bohrnstedt. The second solo recital, on July 22, 1974, featured French music of this century. Compositions by Ravel, Fauré,Varèse, Henri Tomasi, Pierre-Max Dubois, Benno Ammann, and Théo Charlier were presented. The chamber music recital displayed the trumpet in combination with other solo instruments and voice, together with varied accompaniments. A group of three arias for soprano and trumpet--by Purcell, Handel, and Bach--and a suite of arias for oboe and trumpet by Telemann were representative of the 18th century. These works were performed with an accompaniment of strings and basso continuo. Works from the 20th century included the combination of trumpet, clarinet, and xylophone, with percussion accompaniment, in a piece by Carlos Surinach and trumpet with pre-recorded tape in a work by David Cope. The program was presented on February 26, 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.