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The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance

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The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1980 The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance. Malcolm Eugene Beauchamp Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Beauchamp, Malcolm Eugene, "The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance." (1980). LSU Historical Dissertations and Theses. 3474. https://digitalcommons.lsu.edu/gradschool_disstheses/3474 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. Universify Microfilms International 300 N. ZEEB ROAD, ANN ARBOR. Ml 48106 18 BEDFORD ROW, LONDON WCIR 4EJ, ENGLAND Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 8021736 Bea u c h a m p , M a lc o lm E u g e n e THE APPLICATION OF BEL CANTO CONCEPTS AND PRINCIPLES TO TRUMPET PEDAGOGY AND PERFORMANCE The Louisiana State University and Agricultural and Mechanical PH.D. Col. 1980 University Microfilms Intern eti one! 300 N. Zeeb Road, Ann Arbor, M I 48106 18 Bedford Row. London WCIR 4EJ, England Copyright 1980 by Beauchamp, Malcolm Eugene All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE APPLICATION OF BEL CANTO CONCEPTS AND PRINCIPLES TO TRUMPET PEDAGOGY AND PERFORMANCE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Malcolm Eugene Beauchamp B.M., George Peabody College for Teachers, 1966 M.M., George Peabody College for Teachers, 1969 May 1980 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS The writer wishes to acknowledge those who have given adivce and who have helped in this study. Recognition is accorded to Dr. Robert F. Shambaugh and Mr. George Foss. Appreciation is expressed for their encouragement and invaluable assistance in the prepara­ tion of the manuscript. Special recognition is accorded to Mr. Jack Holland whose inspiration made this endeavor possible. A special thanks and appreciation is due my wife, Suzanne, for her enduring cooperation and understanding. 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................ il ABSTRACT ................................................. vi Chapter I. INTRODUCTION ...................................... 1 Statement of the P r o b l e m ......................... 1 Significance of the Problem...................... 2 Delimitations...................................... 3 Definition of Terms............................... 5 Method of Investigation........................... 5 II. A REVIEW OF SELECTED BEL CANTO LITERATURE. 8 Definition of Bel Canto........................... 8 A Review of Selected Bel Canto Primary Sources.................................. 16 A Review of Selected Bel Canto Secondary Sources............................... 53 Summary............................................. 99 Notes.................................................. 108 III. A REVIEW OF SELECTED BRASS AND TRUMPET LITERATURE ........................................... 120 Periodicals........................................... 121 Texts Designed for Brass Techniques Classes. 147 Brass Texts........................................... 150 Trumpet Texts......................................... 167 Dissertations and Theses 17 8 Conclusions........................................... 191 Notes.................................................. 198 IV. THE APPLICATION OF BEL CANTO PEDAGOGICAL PRINCIPLES TO TRUMPET PEDAGOGY AND PERFOR^l^NCE THROUGH PRACTICAL EXERCISES............210 Authentication and Substantiation to Current Practices in Brass Pedagogy.............. 257 Conclusions........................................... 261 Notes.................................................. 263 1 1 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS. 264 SELECTED BIBLIOGRAPHY. ............................... 26 8 APPENDIX ................................................. 277 VITA ...................................................... 279 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Figure 1. Corri's Lesson I . 33 2. Corri's Lesson II. 33 3. Corri's Lesson II. 34 4. Corri's Lesson II. 34 5. Corri's Lesson Ill . 34 6. Corri's Lesson VI. 35 7. Corri's Lesson XII . 36 8. Corri's Lesson XVII. 37 V Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Bel canto is a term of nebulous meaning and inconsistent usage. Probably the most comprehensive interpretation of bel canto is an ideal of vocal excellence, a vocal technique, and a style of performance identified with the seventeenth and eighteenth centuries. Recent publications concerning vocal pedagogy and performance practices illustrate an efflorescence of interest in bel canto. The significance of bel canto to contemporary vocal pedagogy has become a topic for theses and dissertations. In view of the revived interest in bel canto and its sig­ nificance to contemporary vocal pedagogy, it is apparent that the teachings of the old bel canto masters were based on sound pedagogical principles. It is conceivable that these pedagogical principles would have significance for other disciplines as well. The first purpose of this study was to establish the significant pedagogical concepts and principles of bel canto. In order to establish these concepts and principles, a review of selected primary and secondary sources of bel canto was implemented. As a result of this review, the following ideal performance concepts and objectives of bel canto were derived; vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1. Demonstrates a beautiful tone quality at all times. 2. Demonstrates agility and virtuosity in performance. 3. Demonstrates a smooth, pure legato and sustained unbroken phrase. 4. Demonstrates perfect intonation as a result of proper tone production. 5. Demonstrates an unhindered deliverance of musical expression. These five bel canto concepts of performance provided motivation for the formulation of the following bel canto pedagogical principles : 1. The Bel Canto Principle of Ear Training 2. A Graded Progression of Exercises and Techniques 3. The Absolute Perfection of Each Level Before Progression to the Next 4. Problem Isolation 5. The Comprehension of the Method and Its Application The second purpose of this study was to establish the feasibility of a comparison of bel canto pedagogical concepts and principles to corresponding pedagogical concepts and principles derived from brass and trumpet literature. In order to accomplish this purpose, a review of selected books, dissertations, theses, and periodicals concerning brass pedagogy was implemented. The result of this review of selected brass and trumpet pedagogical literature demonstrated
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