Thesis (D.M.A.)--University of Texas at Austin, 1998. / Vita. Discography: 139-141. Includes bibliographical references (leaves 142-144). Available also in a digital version from Dissertation Abstracts.

“The Art of Phrasing” is a chapter from Arban’s Complete Celebrated Method for the Cornet (published in 1864) that contains a selection of 150 melodies from Classical and early Romantic works. This section of Arban’s method was necessary for a new generation of cornet and trumpet players to learn melodic phrasing and style. A larger part of the trumpet solo repertoire was written for the clarino register or composed in fanfares due to the limitation of the valveless trumpet. The newly chromatic cornet grew to be a prominent solo instrument in symphonies and wind bands by the mid 19th century, and Arban's “Art of Phrasing” instructed players in musical style. Due to today’s vast number of musical genres, it is unlikely that present day students will be exposed to the melodies of “The Art of Phrasing.” With advancements in music streaming technology and with increased accessibility to countless recordings via the internet, trumpet players are able to access recordings of the melodies. However, there are errors and omissions in the chapter that prevents students from finding recordings with ease. This dissertation presents a new compilation of melodies organized by musical period from medieval to modern day, complete with proper title, composer name, chronological information, genre, and location within the selected work. In order to help students distinguish between musical styles, a brief description of characteristics from each musical period is provided, including information on the function of music in society, performance practice, and compositional trends in rhythm, melody, harmony, and expression.

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.

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

Thesis (D.M.)--Northwestern University. 1989. / Typescript. Includes abstract. Includes bibliographical references (leaves 137-151).

The process of the organization of the orchestra began with the rise of opera; considered on a broad scale this process divides itself into two periods, the first terminated by the deaths of Bach and Handel (1600-1759) and the second beginning with the complete change of orchestral sound evident in the symphonies of Haydn and Mozart during the second half of the eighteenth century. It is the first of these two periods that witnessed the composers of art music exploiting the natural trumpet, an instrument long associated with court, camp, and field, to the extent that they developed a vast repertoire of trumpet music characterized by its virtuosic technical requirements.

This document presents the most salient features of Jolivet's mature musical style as exemplified in two of his major solo works for trumpet. The two works which serve as the musical focus of the document are one of his latest works, Arioso Barocco (1968) for trumpet and organ, and a work situated near the center of his compositional output, the Second Concerto (1954) for trumpet and a thirteen-member chamber ensemble. Following an exposition of Jolivet's life and musical development, we begin by examining five technical principles of harmony, texture, melody, and rhythm, which Jolivet set forth in a 1946 article. His aesthetic principles as stated in this and other articles by the composer are also examined. The most important of these aesthetic principles holds that music is by nature incantatory or has an incantatory mission--that is, it has the power to connect man with the cosmos, eternity, or that which is greater than man himself. At the heart of this incantatory aesthetic ideal is Jolivet's belief in the primacy of expressive melody, free of the harmonic restraints of traditional tonality. The musical analysis proceeds by identifying in Arioso Barocco the specific application of Jolivet's technical and aesthetic principles to the music, as well as considering formal structure and thematic process. The Second Concerto is then examined in the same way, and a stylistic and technical comparison is drawn between the two works. The study concludes that while both works serve the same underlying atonal and incantatory musical aesthetic, they are markedly different in many significant technical characteristics and stylistic traits. In view of the fact that both works come from what is considered Jolivet's third and final creative period, these findings give cause for further research into Jolivet's compositions from this period to determine whether they do in fact constitute one creative period or two separate and distinct periods.

Trumpet method books have existed almost as long as the trumpet itself. From Cesare Bendenelli collecting pedagogical information in the late 16th century, to the most recent publications, thousands of books have been written for the trumpet. Publishers including Carl Fisher, Belwin, Alfred, Charles Colin Music, M. Baron Company, and Alphonse Leduc offer over 400 trumpet method books containing studies on intonation, high-register, rhythm, orchestral excerpts, transpositions, solos, etc. With such a wealth of material, there is not one book containing trumpet excerpts from the wind band literature. This project seeks to fill this void by offering a compilation of 586 of the most popular and difficult trumpet excerpts from the wind band literature. In addition to the musical excerpts, each excerpt contains insights from some of the premier players in the wind band field. The aforementioned insights were applied to each excerpt to give the reader an easy-to-understand approach to learning wind band repertoire. As a result, this dissertation will serve multiple functions in the trumpet community, including promoting the wind band genre; teaching students important, yet neglected, works; developing healthy practice habits; presenting a more pragmatic application of higher musical study; and, of course, the identifying and organizing of difficult wind band literature for the trumpet. / School of Music

Semaine Sainte a Cuzco / H. Tomasi -- Prayer of St. Gregory / A. Hovhaness -- Sounds from the Hudson / H. L. Clarke -- Sonata for trumpet and piano / G. Antheil -- Eiffel Tower polka / F. Poulenc -- Galliard battaglia / S. Scheidt -- Penny Lane / J. Lennon-P. McCartney. / text

The orchestral trumpet in selected Grawemeyer award winning compositions -- The Grawemeyer awards / H. C. Grawemeyer -- Symphony no. 3 / W. Lutoslawski -- Silver ladders / J. Tower -- Symphony no. 4, adagio for large orchestra (1992) / K. Penderecki -- Asyla for large orchestra, op. 17 / T. Ades. / text