DOCSLIB.ORG

International Trumpet Guild Journal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Trumpet Guild Journal Special Supplement to the ® International Trumpet Guild Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet THE 2015 I NTERN ATIONAL TRU MPET GUILD ONFERENCE OL UMBUS HIO C , C , O SPECIAL DAILY REPORT • COMPILED BY PETER WOOD THURSDAY , M AY 28, 20 15 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. http://www.trumpetguild.org Please retain this cover sheet with printed document. THE 2015 I NTERN ATIONAL TRU MPET GUILD CONFERENCE , C OL UMBUS , O HIO SPECIAL DAILY REPORT • COMPILED BY PETER WOOD [Note: this article contains Enhanced Graphics —click on any remained relaxed as the warmup progressed. He spoke fondly photo with a blue border , and your web browser will take you to of his former teacher, Roger Voisin, and shared some stories an online display of that photo in full size and resolution. You from their time together. It was particularly special that may also find additional photos of the event of interest.] Voisin’s son, Peter, was present, sharing stories himself. Atten - dees received valuable knowledge from an exceptional teacher Thursday, May 28 and performer and left properly relaxed, warmed up, and ready Thursday’s lineup at the ITG conference was especially ter - to take on the day. (DD) rific. One must-see event after another all day long can be very tiring; but what a satisfying experience it was! There were Judith Saxton —Alexander Technique Warmup exceptionally talented and well-prepared collegiate trumpet Judith Saxton integrated the body awareness principles of ensembles playing thrilling preludes prior to many events, and the Alexander Technique in her warm-up class. While the the session topics and musical styles performed covered the class consisted of many standard fundamentals practices, the gamut of what we do in this exciting field. The atmosphere at Alexander Technique approach may have been new to many. the conference is extremely positive and supportive, despite The group began in a large circle, and everyone introduced what one might expect from the perceived trumpet player themselves to their neighbors. Even though no instruments stereotype. The sense of camaraderie is truly infectious! were being played or mouthpieces buzzed, we had already begun to warm up our lips just by talking. Judith presented Bill Pfund —Warm-up Session breath exercises with movement to wake up the physical body A humble and inspiring Bill Pfund led a packed room and lungs. Participants were then led through a process of through his morning warm-up session. “Is the trumpet still my friend?” is a question he asks himself when he starts each day. mouthpiece buzzing, ascending and descending chromatics, Pfund begins in the middle register to see how he feels and Cichowicz flow studies, lip slurs, and arpeggios. Throughout adjusts his warmup accordingly. Beginning with deep breaths the session in every method, trumpeters were reminded to and moving air through the horn, Pfund continued to lead a play with feet grounded on the floor and knees unlocked. We warmup consisting of long tones, lip slurs, bending tones, left not only with warmed-up chops, but also with an chromatics, and articulations. He emphasized achieving a increased awareness of the body and whole self as we play the beautiful sound always and made sure that those in attendance trumpet. (BB) 2 ITG Journal Special Supplement © 2015 International Trumpet Guild Amy Dunker, Mark Ponzo, and James Sherry — The Care and Feeding of New Music With continual advances in technology and the burgeoning presence of the Internet in nearly every facet of our lives, the publication, marketing, and dissemination of music has been altered dramatically in the last ten years. Increasingly, com - posers are self-publishing their works or utilizing smaller pub - Mark Ponzo Amy Dunker James Sherry lishers, creating challenges for the consumer with regard to excerpts from newer works by Betsy Schramm, Patricia More - finding and assessing newly-penned compositions. Today’s head, Karen Amrhein, and Amy Dunker. (JK) clinic, presented by composer Amy Dunker, navigated the types of issues that surround present-day music composition Jason Dovel —Trumpet Intonation: Facts and Strategies and offered much insightful and helpful commentary. Special Trumpet players and teachers of all ages filled the Union mention should be made of her website ( www.amydunker.com ), ballroom early this morning for Jason Dovel’s session on into - which contains such useful resources as a listing of (with links nation. Although many topics of discussion resonated with to) trumpet works by women composers. To complement those in attendance (as was made obvious by the nodding Dunker’s remarks, trumpeters James Sherry and Mark Ponzo, heads and short bursts of laughter), a few ideas stood out along with pianist Bang Lang Do, presented a program of among the rest. Dovel suggested that student players learn a © 2015 International Trumpet Guild ITG Journal Special Supplement 3 the trumpet. Other pieces are based more on improvisation, and the piece length is up to the discretion of the performer. Adler gave a thorough explanation of different microphones, audio interfaces, speakers, and computer programs that he has used in live performance and on his recent CD , Things I Like . Adler’s playing was crystal-clear, and his presentation demon - strated extreme flexibility and exceptional technological understanding. (EY) Jason Dovel variety of ways to approach playing in tune and adapting to factors that may alter intonation—like changes in timbre, per - sonnel, or temperature. He also stressed the importance of using the first and third valve slides on the trumpet and becoming aware of one’s own pitch tendencies, noting that the Carole Dawn Reinhart slides were not put on the trumpet “just for decoration!” Other topics of discussion included Carole Dawn Reinhart and common myths about intonation, Wendy Matthews — equal temperament, and harmon - The Life and Teaching of ic tuning; and he also suggested Carole Dawn Reinhart important references to improve This session showcased the life student learning. (BW) of an astonishing musician. The event began with what Matthews John Adler —Trumpet and called the “Inside the Actors Stu - Electronics: A Primer for dio” approach. Reinhart spoke Performance and Practice about her early beginnings and John Adler gave an interesting how her older brother influenced and educational overview of his her. Matthews played an early work in the medium of trumpet recording of the siblings per - and electronics. Adler began by forming a duet on the Paul introducing an online component Whiteman radio show in 1948 . of his lecture, which contained The audience in attendance was supplemental material such as treated to a montage of photos of pictures and scores. Attendees the young Reinhart that lasted were encouraged to access the the entire performance. material (available online at Matthews played a variety of http://johnadlermusic.com/itg ) recorded audio/video perform - during the presentation. Some of ances for the room, including a the pieces that Adler presented are live performance of Reinhart “set-time” pieces in which a pre- playing Buglers Holiday with Al recorded backing track, often Hirt, Carnival of Venice with a containing manipulated trumpet John Adler show band, and the Haydn Con - sounds, are used to accompany certo and another concerto with 4 ITG Journal Special Supplement © 2015 International Trumpet Guild orchestra. Despite her success with bands and TV , Reinhart decided to move to Europe to seek out additional performing opportunities. She premiered at least thirty works during this time period. The session ended with Reinhart working with a student on the Haydn Trumpet Concerto. (RR) Philippe Schartz —Recital, The Music of Welsh Composers An opening flurry of multiple tonguing was just the begin - ning of a stunning performance of music by Welsh composers by Luxembourg-born trumpeter Philippe Schartz. The princi - pal trumpet of the BBC National Orchestra of Wales demon - strated his technical virtuosity, as well as beautiful, lyrical play - ing on both trumpet and flugelhorn. Schartz dedicated his somber and inspiring performance of Grace Williams’s Elegy for Cynddylan to another Welsh composer, Mervyn Burtch, who recently passed away. Schartz performed three world pre - mieres, including Mountain of Abstract Thought, a composition by Schartz’s pianist, Christopher Williams.
Load more

Recommended publications
  • International Trumpet Guild Journal
    Reprints from the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet FORGING NEW PATHS : A CONVER SA TION WITH ALISON BALSOM BY PETER WOOD June 2014 • Page 6 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
    [Show full text]
  • Program for Meet the Plumbers (April 20
    The PLUMBING FACTORY BRASS BAND Henry Meredith, Director – Meet the PLUMBERS – Music for various types of brass instruments in small and large ensembles APRIL 20, 2016 Byron United Church – 420 Boler Road (@ Baseline), LONDON, Ontario __________________________________________ TUTTI – Introducing our members according to the types of instruments they play, from the bottom up Joy, Peace & Happiness Richard Phillips (born 1962) CORNETS – The sweeter, mellower cousins of the trumpets can still sound like trumpets for fanfares! Tuba Mirum from the Manzoni Requiem (1874) Giuseppe Verdi (1813-1901), arr. H. Meredith Fanfare for Prince Henry (1984) Jeff Smallman (born 1965) BRASS BAND Instrument Predecessors –Parforce Horns for the hunt Polka Mazur & Österreichesche Jägerlied Anton Wunderer (1850-1906) Le Rendez-vous de Chasse (1828) Gioachino Rossini (1792-1868) TROMBONES – The “perfect” instrument remains basically unchanged after five centuries! Two Newfoundland Folk Songs arr. Kenneth Knowles Let Me Fish Off Cape St. Mary’s & Lots of Fish in Bonavist’ Harbor Jazz Invention No. 1 Lennie Niehaus (born 1929) More Predecessors of BRASS BAND Instruments – Valveless Trumpets - The instruments of kings Fanfares pour 4 Trompettes naturelles (1833) Sigismund Neukomm (1778-1858) Allegro & Polonaise Quartuor No. 1 – Marche François-Georges-Auguste Dauverné (1799-1874) TUBAS/ EUPHONIUMS – Bass and Baritone Horns of the Saxhorn type – Going places! Indiana Polka (from Peters’ Saxhorn Journal, Cincinnati, 1859) Edmund Jaeger, J. Schatzman Pennsylvania Polka Lester Lee (1903-1956) and Zeke Manners (1911-2000) Washington Post March (1889) John Philip Sousa (1854-1932) TUTTI – Another important place name – how the West was won Dodge City (2001) Jeff Smallman Muted CORNETS and Flugelhorns – The Pink Panther (1964) Henry Mancini (1924-1994), arr.
    [Show full text]
  • A New Species of Instrument: the Vented Trumpet in Context
    1 A NEW SPECIES OF INSTRUMENT: THE VENTED TRUMPET IN CONTEXT Robert Barclay Introduction The natural trumpet is the one instrument not yet fully revived for use in the performance of Baroque music. A handful of recordings are available and very rarely a concert featuring solo performances on the instrument is given, but to a great extent the idiosyncrasies of the natural harmonic series are still considered to be beyond reliability in the recording studio or in live performance. Most current players have taken to using machine-made instruments with as many as four fi nger-holes placed in their tubing near to pressure nodes, so that the so-called “out-of-tune harmonics” of the natural series (principally f’/f#’, and a” ) will not be unpleasant to modern sensitivity. The vented instruments that have resulted from this recent “invention of tradition” are often equipped with so many anachronistic features that the result is a trumpet which resembles its Baroque counterpart only superfi cially, whose playing technique is quite different, and whose timbre is far removed from that expected for Baroque music. Among publications that deal with the compromises made to natural instruments in modern practice, those of Tim Collins, Richard Seraphinoff, and Crispian Steele-Perkins deserve especial mention. Collins provides an excellent summary of the characteristics of the natural trumpet, and an analysis of the current state of playing of the instrument.1 Seraphinoff concentrates on the early horn, and discusses the pros and cons of the use of vent holes in so-called historical performances.2 Steele-Perkins summarizes the develop- ment of the modern Baroque trumpet and provides practical advice on the selection of instruments3 All three authors highlight the tension that has arisen within the fi eld of early brass performance.
    [Show full text]
  • Trumpets and Horns
    TRUMPETS AND HORNS NATURAL TRUMPETS SHOFAR The shofar is an ancient Jewish liturgical instrument. It is a natural trumpet without a mouthpiece and produces only two tones, the second and third harmonics. The Talmud has laid down precise instructions for its maintenance and use, as well as materials and methods of construction. The shofar is usually made from ram's horn, although the horn of any animal of the sheep or goat family may be used. The horn is softened by heat and straightened. Subsequently, it is re-bent in one of several shapes (Plate 58). A blow-hole is bored into the pointed end of the horn. In the Northern European variety of shofar, the blow-hole usually has no distinct shape. In the Israeli and Southern European type, the mouthpiece is formed into a miniature trum- pet mouthpiece. CATALOGUE # 85 SHOFAR (73-840) MIDDLE EAST Plate 58, Fig. 97. COLLECTED: Toronto, Ontario, 1973 CATALOGUE It 86 SHOFAR (73-847) MIDDLE EAST Plate 58, Fig. 98. COLLECTED: Toronto, Ontario, 1973 CATALOGUE It 87 SHOFAR (74-68) USSR A family treasure, this shofar (Plate 58, Fig. 99) was brought to Canada ca. 1900 from Minsk, Russia by Vladislaw Schwartz. Mr. Schwartz donated it to the Minsken Synagogue, Toronto upon his assumption of the presidency in 1932. COLLECTED: Toronto, Ontario, 1973 Plate 58 Shofars 1. Catalogue 087 085 2. Catalogue 3. Catalogue 086 b1-3/44 ________ 0 Scm a t 6.5 L L__— 5.5 - -- -- -—____________________ /t---- N ---A / N re 97 75.0 / .8 0 5cm Figure 96 6L Natural trumpets 125 HORA The hora is the end-blown shell trumpet of Japan.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Devolution of the Shepherd Trumpet and Its Seminal
    Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
    [Show full text]
  • The Alphorn in North America: “Blown Yodeling” Within a Transnational Community
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-6-2021 The Alphorn in North America: “Blown Yodeling” Within A Transnational Community Maureen E. Kelly CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/682 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Alphorn in North America: “Blown Yodeling” Within A Transnational Community by Maureen E. Kelly Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Music, Hunter College The City University of New York 2021 01/06/2021 Barbara Hampton Date Thesis Sponsor 01/06/2021 Barbara Oldham Date Second Reader CONTENTS CHAPTER I: Meeting the North American Alphorn Community 1 1. Structure of Research 2. Data Gathering 3. Studying the Alphorn a. The History of the Alphorn b. Imagined Communities and Identity c. Cultural Tourism d. Organology CHAPTER II: “Auslanders:” Travels to Switzerland 8 1. Bill Hopson 2. Laura Nelson 3. Gary Bang CHAPTER III: Establishing North American Alphorn Schools 31 1. Utah 2. West Virginia 3. The Midwest CHAPTER IV: “We All Serve the Same Master:” The Alphorn Trade 49 CHAPTER V: An Instrument of Kinship 69 Bibliography 75 LIST OF ILLUSTRATIONS Bill Hopson in Frauenfeld 12 Harmonic Series 13 Excerpt, Brahms Symphony no. 1 in c minor 13 Albumblatt für Clara Schumann 14 Excerpt, Mozart Concerto no.
    [Show full text]
  • Brass Tactics by David Summer Nov 1, 2004 Record Great Brass Sounds in Your Personal Studio
    Brass Tactics By David Summer Nov 1, 2004 Record great brass sounds in your personal studio. You most often deal with the sonic elements of guitar, keyboard, bass, drums, and vocals in your studio, but what if you were faced with the task of recording a trumpet player, a trombone player, or maybe even an entire brass ensemble? Would you be ready for that kind of a session? If your answer is “no” or “well, I'm not sure,” then read on. In this article I'll outline some successful strategies for recording brass. I'll also discuss important information about brass instruments and how they're played that will better prepare you for recording them. The focus of this column will be on brass instruments specifically rather than on horn sections, which frequently consist of a mix of brass and woodwind instruments. Although there are many instruments in the brass family — including trumpet, cornet, trombone, French horn, euphonium, and tuba — I'll concentrate on trumpet and trombone because they're the ones you'll most frequently encounter. Many of the concepts described here also apply, however, to other brass instruments. BLUE RIBBONS There's a reason why armies have used buglers for centuries. The sound of the bugle — which is essentially a trumpet without valves — carries in a way that few other instruments do. A trumpet can not only be loud, but it can also be piercing. To keep those highs in check while still capturing the most full and natural trumpet sound (see Web Clip 1), I recommend using a ribbon mic.
    [Show full text]
  • International Trumpet Guild Journal 38, No
    Reprints from the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet INTERSECTING HIS TORY AND PEDAGOG Y: USING THE NATURAL TRU MPET TO TEACH BEGINNING BRASS STUDENTS BY BRUCE BRINEY AND KIRSTY MONTGOMERY March 2015 • Page 34 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
    [Show full text]
  • The Brass Instrument Collection of the Metropolitan Museum of Art in New York
    113 THE BRASS INSTRUMENT COLLECTION OF THE METROPOLITAN MUSEUM OF ART IN NEW YORK HERBERT HEYDE The Metropolitan Museum of Art houses a large, comprehensive collection of musical instruments. Managed by one of seventeen curatorial departments, the Musical Instruments Department, it contains approximately 4,500 instruments. Roughly forty percent of them are of western, the rest of non-western origin. The Egyptian, Islamic, Arms and Armor, Medieval Departments, and a few other departments, house some additional instruments. Another resource consists of iconographic representations of musical instruments that are to be found in almost all departments. They are included in The Performing Arts Index of RIdIM.1 The western brass, or “lip-vibrated” instruments of the Musical Instruments Department amount to only 283 items—an indication that this fi eld was never a priority of the museum’s collecting activities. The basis of The Metropolitan Museum of Art musical instruments collection was provided by Mary Elisabeth Adams Brown (1842-1918), who donated her collection from 1889 in successive installments in the name of her husband, John Crosby Brown. Beginning with 276 instruments in 1889, the gift ultimately amounted to more than 3400 items in 1918. To be precise, before Brown’s donation there was already a collection of forty-four instruments in the museum, given by Joseph William Drexel (1833-1888), a wealthy amateur musician and philanthropist in New York. The Brown family, of British origin, engaged in international banking and graciously supported American culture, including education and theology. Besides musical instruments, Mrs. Brown collected lace, embroidery, and portraits of musicians, which are now kept in the Prints and Drawings Department of The Metropolitan Museum of Art.2 A few years after the Crosby Brown collection began to arrive in 1889, the museum provided gallery space for its public display.
    [Show full text]
  • The Trumpet Shall Sound
    this cover and their final version of the extended essay to or are not must use Examiner i Examiner 2 Examiner 3 research 2 2 B introduction 2 2 D c 4 4 D 4 D 4 D E reasoned 4 4 F and evaluation 4 D 4 D G use of 4 4 D H conclusion 2 2 formal 4 D 4 D J abstract 2 2 K holistic 4 4 ( , The Trumpet Shall Sound (The significance of the trumpet in society, war, and ceremonies throughout history) Candidate Name: Candidate number: Session: May 2013 Subject: Music Word Count: 3 821 Abstract In this essay I will be focusing my research and information around the question; "What is the significance of the trumpet in ceremonies, war, and society throughout history?" I will delve into different parts of the world and show how trumpet music plays a role in the production of ceremonies, within a society, the pageantry of ceremonies and the properties or war. In addition to this, I will discuss the trumpet's physical evolution and the development of its use in different musical genres. Because the trumpet has been around for thousands of years, it has become a diverse instrument, it has evolved into a different looking and sounding instrument, and has taken on a different relevance according to the culture in which it is used. I will discuss many aspects of the trumpet, from the music that it plays, to the societal significance of that music. I have concluded that the trumpet has a much greater impact on culture than is generally known, affecting almost every aspect of many cultures around the world throughout history.
    [Show full text]