Evolution of the Modern Trumpet (Pdf)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Perspectives on the American Concert March in Music Education Robert Clark
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies. -
Page 14 Street, Hudson, 715-386-8409 (3/16W)
JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY NOVEMBER | DECEMBER 2010 ATOS NovDec 52-6 H.indd 1 10/14/10 7:08 PM ANNOUNCING A NEW DVD TEACHING TOOL Do you sit at a theatre organ confused by the stoprail? Do you know it’s better to leave the 8' Tibia OUT of the left hand? Stumped by how to add more to your intros and endings? John Ferguson and Friends The Art of Playing Theatre Organ Learn about arranging, registration, intros and endings. From the simple basics all the way to the Circle of 5ths. Artist instructors — Allen Organ artists Jonas Nordwall, Lyn Order now and recieve Larsen, Jelani Eddington and special guest Simon Gledhill. a special bonus DVD! Allen artist Walt Strony will produce a special DVD lesson based on YOUR questions and topics! (Strony DVD ships separately in 2011.) Jonas Nordwall Lyn Larsen Jelani Eddington Simon Gledhill Recorded at Octave Hall at the Allen Organ headquarters in Macungie, Pennsylvania on the 4-manual STR-4 theatre organ and the 3-manual LL324Q theatre organ. More than 5-1/2 hours of valuable information — a value of over $300. These are lessons you can play over and over again to enhance your ability to play the theatre organ. It’s just like having these five great artists teaching right in your living room! Four-DVD package plus a bonus DVD from five of the world’s greatest players! Yours for just $149 plus $7 shipping. Order now using the insert or Marketplace order form in this issue. Order by December 7th to receive in time for Christmas! ATOS NovDec 52-6 H.indd 2 10/14/10 7:08 PM THEATRE ORGAN NOVEMBER | DECEMBER 2010 Volume 52 | Number 6 Macy’s Grand Court organ FEATURES DEPARTMENTS My First Convention: 4 Vox Humana Trevor Dodd 12 4 Ciphers Amateur Theatre 13 Organist Winner 5 President’s Message ATOS Summer 6 Directors’ Corner Youth Camp 14 7 Vox Pops London’s Musical 8 News & Notes Museum On the Cover: The former Lowell 20 Ayars Wurlitzer, now in Greek Hall, 10 Professional Perspectives Macy’s Center City, Philadelphia. -
The Improvements of Brass Instruments from 1800 to 1850 Including Implications for Their Usage
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1965 The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age Delmar T. Vollrath Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Vollrath, Delmar T., "The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age" (1965). Masters Theses. 4300. https://thekeep.eiu.edu/theses/4300 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Improvements of Brass Instruments from - 1800 to 1850 Including Implications for Their Usage (TITLE) BY Delmar To Vollrath THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Science in Education IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS --.12�65�- YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE JI, !f{j_ ol\ln TA.llLE OF CONTENTS Chapter I Introduction • • • • • , •• • • • • • • l JI �t ................ 4 III Cornet • • • • • • • • • , • • • • • • IV Tronlhone • • • • • • • .. • , • • •. • • • 18 v Horn • • • • • • • • • • • • • ••••• 22 VI • • • • • • • 4i •••• " • • -'II' •• JJ VII • • • • • • • . ' . .. 39 VIll BU'itone and EuphoniU111 • II •• e II e •• 43 IX Saxophone ••••• • ..... • • • • • I Conolu•ion • • • • • • • .• • • " .... r-''} . • .. APi'ii2IDTX , "' • . • • . ... ,.. BI BL!OORAP!II • • • • • • • • • • . .. The ;:mrpose o:': this stud,)' is to axwni.ne one ;:;'.:&oo of tho evolution of 111J.ls1.oal :tnstrunentsJ that oi' t',e p'1�,;ica1 isi:pr'.ive":ents of brass wind instruments !'roui 1800 to 1 ,50, i:::i the '1opc that a more hharough understanding of the :instru- 1..:ints and their back1;ro·.md will re ;:tlt. -
Newsof the Field
NEWSOF THE FIELD Compiled by Jeffrey Nussbaum If you have news of concerts, publications, recordings, symposia, or workshops, please send notices to :Historic Brass Society, 148West 23 Street #2A, New York, NY 10011 USA (212) 627-3820. Baroque Trumpet Mutes Fred Holmgren is now making wooden Baroque trumpet mutes. Two models are currently available: one is a copy of the mute in the Historical Museum, Basel, as pictured in Altenburg's Trumpeters' and Kettledrummers' Art. The second is modeled after an anonymous example in the collection of Franz Strietwieser. The Base1 mute raises the pitch one semi-tone, and the Anonymous model raises the pitch two semi- tones, the whole step mentioned in the Altenburg description. This mute enables players to play, for example the morning hymn "Aus meines Herzengrunde," which includes a trumpet in E and two trumpets in D con sordino. For information contact: Fred Holmgren, 1139 Chestnut Street, Athol, MA 0133 1, Phone: (508)249-5174. Horn Symposium The 1991 International Horn Symposium celebrated the 23rd year of the International Horn Society's biggest event. Over 350 horn teachers, and horn lovers (including actor David Ogden Stiers!!) attended the event at the University of North Texas in Denton, May 12-19, 1991. Historical instruments were well-represented in performances by Michel Garcin-Marrou (London Classical Players, among others). Javier Bonet- Manrique (firstprize, 1990 International Horn Competition), and JackMasarie (Univer- sity of North Carolina- Greensboro), performing M.Haydn, Concertino for Horn and Trombone. Exhibitors of natural horns included Paxman and Engelbert Schmid (Germany). Roland Homath of the Vienna Philharmonic gave a remarkable perfor- mance on the traditional Wiener Pumpen-horn. -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
Mystery Instrument Trivia!
Mystery Instrument Trivia! ACTIVITY SUMMARY In this activity, students will use online sources to research a variety of unusual wind- blown instruments, matching the instrument name with the clues provided. Students will then select one of the instruments for a deeper dive into the instrument’s origins and usage, and will create a multimedia presentation to share with the class. STUDENTS WILL BE ABLE TO identify commonalities and differences in music instruments from various cultures. (CA VAPA Music 3.0 Cultural Context) gather information from sources to answer questions. (CA CCSS W 8) describe objects with relevant detail. (CACCSS SL 4) Meet Our Instruments: HORN Video Demonstration STEPS: 1. Review the HORN video demonstration by San Francisco Symphony Assistant Principal Horn Bruce Roberts: Meet Our Instruments: HORN Video Demonstration. Pay special attention to the section where he talks about buzzing the lips to create sound, and how tightening and loosening the buzzing lips create different sounds as the air passes through the instrument’s tubing. 2. Tell the students: There many instruments that create sound the very same way—but without the valves to press. These instruments use ONLY the lips to play different notes! Mystery Instrument Trivia! 3. Students will explore some unusual and distinctive instruments that make sound using only the buzzing lips and lip pressure—no valves. Students should use online searches to match the trivia clues with the instrument names! Mystery Instrument Trivia - CLUES: This instrument was used in many places around the world to announce that the mail had arrived. Even today, a picture of this instrument is the official logo of the national mail delivery service in many countries. -
Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages -
A Brief History of Piston-Valved Cornets'
337 A Brief History of Piston-valved Cornets' Niles Eldredge The bewildering array of cornet design over the past 175 years or so has defied simple description, categorization, and classification. Yet major themes in cornet design readily emerge on closer study—and while no straightforward classification of comets is possible,' historical analysis of the sequence of major design changes does have the effect of reducing the welter of cornet variation to a manageably simpler picture than heretofore available. I shall restrict my analysis to B6 soprano brasswinds of approximately 41 /2 feet in length, equipped either with the earlier Stolzel valves, or with the succeeding Perinet valves— mentioning comets pitched higher (especially in E6, but also in C where designs differ from those in B6), as well as in lower pitches, only in passing.' Likewise, I consider only "mainstream" instruments most commonly used by amateur and virtuoso professional alike—but excluding such instruments as "echo bell" and "pocket" comets. Finally, in confining my gaze to comets, and thereby excluding trumpets and fluegelhorns (again, except in passing), we immediately confront the question: What, exactly, is a cornet? What Is a cornet? Conventional wisdom has it that a cornet is a soprano brasswind of some 41/2 feet of tubing that (1) has, at least ideally, approximately 2/3 of its length in conical shape, 1/3 cylindrical (the reverse being said to be optimal for trumpets4); (2) tubing coiled in two complete 360° turns (typically 11/2 such turns to the "leadpipe" section between mouthpiece and valves, and a final 180° turn after the bell tubing exits the first valve); thus cornets are usually shorter than Perinet-valved trumpets, which retain the much older single 360°-turn design of most natural trumpets; and (3) a deep, funnel-shaped cup mouthpiece—more similar to a horn, than to a trumpet, mouthpiece. -
The Post Horn
Issue 02 The Post Horn The Newsletter of the Camborne Town Band Music Society VOLUME 1 ISSUE 2 J U N E 2 0 1 3 Editor: Mackenzie takes the helm Nick Wills Following the departure of David the West of England Bandsman’s we have a tremendous team to Hamilton to pursue a Musicians Festival in Bugle direct our performances over the career in the British Army, Cam- His return has been welcomed by coming year.” borne Band has announced the ap- Band and Chairman, Nick Sanders, Kevin added; “It’s a great pleas- INSIDE THIS pointment of a new Resident Musical who stated, “We are very pleased to ure to accept the invitation to I SSUE: Director, Kevin Mackenzie. Kevin have been able to secure the ser- return to the team at Camborne as studied in Yorkshire for a BA (hons) vices of Kevin once more for the Musical Director. This is a great Mackenzie 1 in Band Studies and also achieved an opportunity to work with a for- takes the ABRSM and LRSM in performance on ward thinking band on some Helm the euphonium, gaining a distinction exciting collaborations and musi- in both. During his time at Univer- cal projects. There are few bands Hitchens 3 sity in Yorkshire, Kevin was a mem- with the heritage and history of Return ber of the double National and Euro- Camborne and it is an honour to pean Champions Brighouse and be appointed to this role." Rastrick Band under Alan Withing- Bugle Results 4 ton. This will be Kevin’s second stint Kevin’s first conducting engage- in front of Camborne after previously Kevin Mackenzie ment with the Band was the conducting the band between 2008 George Lloyd Centenary Concert in National 6 St Ives earlier this month. -
Signaling © C.K
Signaling © C.K. Ruppelt, 2018 A full legion had four different types of specialists carrying brass All specialists were specifically trained legionaries. The horn blower instruments depending on their uses. positions were highly sought after since the men received double-pay like the standard bearers and were excused from menial labor (camp The buccina, used by a legionary buccinator building and digging). A long tube of ten to twelve feet, bent into a circle that ends with a forward-looking flare above the blower’s head, with an angled bar across the bend diameter for stability and as handle. Its appropriate use was the announcement of watch changes while in camp, and the call for all soldiers to gather under the authority of the executive officer. The cornu, used by a legionary cornicen Very similar to the buccina in looks. Was exclusively used to signal all troops in battle (in combination with the raising and lowering of standards), and so had a different repertoire. The tuba, used by a legionary tubicen A straight horn, three to four feet long. Exclusively used in battle and in concert with the cornu. The tuba players, or tubicen, were located within the cohorts and centuries, and let the specific divisions know which commands from the cornu were meant for them. The lituus, used by an auxiliary liticen Part of Trajan’s column in Rome showing two buccina or cornu players in civilian clothes, with two tuba players standing behind. Another straight horn of similar length to the tuba, but with a bend at the outgoing side, giving it the shape of the letter “J.” It was the cavalry’s instrument for transmitting battle field calls. -
Characterization And' Taxonomy Acoustical Standpoint
Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care.