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Home , 2 Trumpets, Bass trumpet, Brass quintet, Contrabass, EBow, Ensemble (Stockhausen)

A Survey of Chamber Works for and Electronics

D.M.A. Document

Presented in Partial Fulfillment of Requirements for the Degree of Doctorate of Musical

Arts in the Graduate School of The Ohio State University

By

Isaac David Winland, M.M.

Graduate Program in

The Ohio State University

2018

D.M.A. Document Committee:

Timothy Leasure, Adviser

Marc Ainger

Bruce Henniss Copyright by

Isaac David Winland

2018 Abstract

The field of trumpet and has had limited research. The purpose of this paper is to further the understanding of electroacoustic chamber repertoire for trumpet through the study of works by Ingram Marshall, Karlheinz

Stockhausen, Igor Silva, and Natasha Barrett. Within each compositional study, the author covers various trumpet techniques uncommon in most classical repertoire as well as a brief analysis of each work. The compositions studied show an array of styles use in the field of electroacoustic music. A “list of chamber works” compiled by the author for trumpet and electronics is also included.

ii Acknowledgments:

I would like to thank all of my music teachers, most notably my trumpet professors: Timothy Leasure, Martin Saunders, Scott Johnston, Jack Schantz, Mark

Dulin, and Greg Wing who inspire me to pursue my love of music.

Also, a special thanks to professor Marc Ainger for being a sounding board during the process of writing this document.

Lastly, I would not be here without the love and support of my family, friends, and my wife, April.

iii Vita

2007…………………………………………………………..Tyler Consolidated High School

2011…………………………………….………………………….B.F.A. Marshall University

2013………………………………………………………..……M.M. The University of Akron

2015 to present……………………………………Graduate Teaching Associate, School of

Music, The Ohio State University

Fields of Study

Major Field: Music

iv Table of Contents

Abstract…………………………………………………………………………………….……..ii

Acknowledgments………………………………………………………………………………iii

Vita…………………………………………………………………………………………..……iv

List of Figures………………………………………….…………………………………..……vi

Introduction………………………………………….………………………………………..….1

Chapter 1: Ingram Marshall - Fog Tropes……………………….……………………………2

Chapter 2: - Pietà…..…………………………………………..…..9

Chapter 3: Igor Silva - zap_ping_ …….……………………..………………………………20

Chapter 4: Natasha Barrett - Crack………….………..…………………………..…………27

Chapter 5: Conclusion……………………………………………..………….………………35

Bibliography…..………………………………………………………………………………..36

Appendix A: Research Methods and Definitions for List of Chamber Works……..…….37

Appendix B: List of Chamber Works for Trumpet and Electronics……………………….39

v List of Figures

Figure 1: Marshall, Fog Tropes 1’30’’ to 2’00’’……………………………………………4

Figure 2: Marshall, Fog Tropes 4’00’’ to 4’30’’………………………..…………………..6

Figure 3: Marshall, Fog Tropes 1’45 - Trumpet 1…………………………………………7

Figure 4: Marshall, Fog Tropes 6’30’’ to 7’00’’……….……………………………………8

Figure 5: Marcus Stockhausen’s Quarter-tone …….……………………..11

Figure 6: Staging for Pietà…………………….……………………………………………12

Figure 7: Stockhausen’s Diagram of and …………13

Figure 8: Stockhausen’s Pietà - Pietà Number 23……..……………………………….15

Figure 9: Chart of Soloist starting passage on the same note………………………16

Figure 10: Stockhausen’s Pietà - Pietà Number 1…….………………………………..18

Figure 11: Stockhausen’s Pietà - Mute Technique Description….…………………..19

Figure 12: Diagram of zap_ping_ electronics….………………..………………………21

Figure 13: Silva’s zap_ping_ Measures 1-8…….………………………………………..23

Figure 14: Silva’s zap_ping_ Measures 207-224….…………………………………….23

Figure 15: Silva’s zap_ping_ Measures 30-40…………………………………….…….24

Figure 16: Silva’s zap_ping_ Analysis……………………………………………………25

Figure 17: Silva’s zap_ping_ Trumpet Notation…….…………………………………..26

Figure 18: Barrett’s Atomic Crack Trumpet and Electric , measures 1-10…30

Figure 19: Barrett’s Atomic Crack Score, measures 76-81…….…..…………………30

vi Figure 20: Barrett’s Deep Ice Score, measures 1-5……..………..……………………32

Figure 21: Barrett’s Deep Ice Score, measures 166-172…..….…………..…………..32

Figure 22: Barrett’s Trumpet Notation…………………..……………………………….34

Figure 23: Barrett’s "Atomic Crack” Trumpet measure 116-127…..………….34

vii Introduction

The purpose of this paper is to further the understanding of chamber with trumpet and electronics repertoire through the study of works by Ingram Marshall,

Karlheinz Stockhausen, Igor Silva, and Natasha Barrett. Each work was chosen to show the advancement of electroacoustic composition through varying software and electronic components. Furthermore, this paper will show the techniques necessary to perform the trumpet parts of each piece along with a brief analysis of the works. The sixth chapter covers the investigative process in collecting the data for the “list of works” and an explanation of chamber ensemble and electronics.

The field of trumpet and electroacoustic music has had limited research. Other than my own research on the topic, a limited number of papers and articles have been written on certain works including a paper written by Michael Barth covering the solo literature for trumpet and electronics.

For the history and composing techniques of electroacoustic music, the following sources are given: Thom Holmes: Electronic and : Technology,

Music, and Culture, Peter Elsea: The Art and Technique of Electroacoustic Music, Curtis

Roads: Composing : a New Aesthetic, and The Oxford Handbook of

Computer Music.

1 Chapter 1: Ingram Marshall - Fog Tropes

Ingram Marshall has received degrees from Columbia University and the

California Institute of the Arts, and studied under , Ilhan

Mimaroglu, and . Marshall also has many awards as a , as well as being a Fulbright Fellowship and a Guggenheim Fellowship recipient. In 1971,

Marshall went on a study trip to Bali where he immersed himself in the music of the area and also started working with the Balinese bamboo . From the influences of his trip, a listener can hear Marshall's "slowed-down sense of time and dreamy evocativeness" in his compositions. In 1973, after graduating and teaching for a short time at Cal Arts, Marshall moved to the San Francisco Bay area and worked as a composer, performer, and producer. Once in the “Bay area”, the composer started experimenting more with combining of live works with electronics.

“Fog Tropes” is possibly Marshall's best known work. The work was composed in

1981 for six instruments and tape and was premiered by and the

San Francisco New Music Ensemble. Alan Ulrich of the San Francisco Examiner explained, “Fog Tropes” as "the swiftness with which he makes you asking ‘How’ and keeps you listening to the ‘What.’” “FogTropes” suggests sonic vistas of incomparable beauty.”1 Marshall's first idea of Fog Tropes came from his tape piece

1 “Bio” http://www.ingrammarshall.net/long

2 named “Fog". The composition was created by using ambient sounds from the San

Francisco Bay. Marshall adds that the tape part of “Fog Tropes”,

" not only uses maritime sounds for its constructive materials, but vocal keenings and the unique sound of the Balinese gambuh, a long bamboo . Although the brass parts and tape sounds are distinct from one another there is an attempt to blend them so as to create a harmonious whole.”2

Marshall’s composition was also used in the movie Shutter Island, starring

Leonardo di Caprio. Within Marshall's blog, he writes about hearing his piece in the movie and the scene. Marshall wrote3,

“I had some apprehension as I knew my music would start the actual movie, Shutter Island starring Leonardo di Caprio, but I had no idea what would appear on the screen. Well, Leo and his US Marshal pal, Mark Ruffalo, are on a small ferry boat in choppy seas heading out to their island destination, and the music syncs up nicely with the image… and suddenly cuts to him violently vomiting in the head--Fog Tropes continues with the French horns and weighing in. So my musical debut in a major Hollywood film, seen and heard by millions, accompanies one of the biggest stars tossing his cookies. Great.”4

Score (Fog Tropes, 1984 Peermusic III, Ltd. )

In the performance notes, Marshall gives many directions on how to play the work. One of which is how to coordinate the tape part with the live players. The composer says the work should be connected by the conductor or a musician giving cues every thirty seconds which are clearly marked in the score. (Figure 1) Along with

Marshall's request that the tape sounds and live brass musicians be of equal balance.

2”Fog Tropes (Brass Version)” http://laphillive.net/philpedia/music/fog-tropes-brass-version-ingram- marshall

3 http://ingrammarshall.blogspot.com/

4 Ingram Marshall. “Shudder Island.” Monday 22, 2010.

3 He also gives the softest and loudest sections of the piece to help the ensemble accomplish the goal of balance. Marshall states the echoic effect is very important, and

"a of about 200ms with sufficient feedback to create a reverberation of several seconds is desirable... It (a reverb unit) can be dispensed with if the piece is performed in an unusually reverberant space with a discrete echo of several seconds, but in the average hall it is quite necessary.”5

Figure 1: Marshall, Fog Tropes

1’30’’ to 2’00’’

The piece is scored in for two , two horns, two trombones, and tape and is roughly ten minutes long. Marshall does use traditional music notation of notes and note lengths, but at times has the instruments playing in different time signatures with separate tempos. He sets up "modules" that lasts 15 to 30 seconds to help the ensemble and conductor play as one with the tape.

5 Ingram Marshall Fog tropes: brass and tape. 2010.

4 Analysis

“Fog Tropes” is made up of many simple parts coming together to form a concept. Marshall uses sparse instrumentation and overlapping phrases to help reveal his idea of fog. (Figure 1) The horns continue a phrase from before in which they are instructed not to play together while the trombones are playing an overlapping figure between themselves and not playing in time with the horns. Marshall rarely uses all the instruments at the same time. (Figure 2) The first time the audience hears all instruments (including tape) playing simultaneously is in the fourth minute marking.

Marshall states in the program notes that the 4’00’’ marking is the loudest section of the work with a dynamic of fortississimo and the instrumentalists holding a Fmajor7 chord with no rhythmic activity. Marshall uses the Fmajor7 chord as a motive throughout the piece. Every time the musicians play the Fmajor7 chord (although in different inversions) a decrescendo follows. The Fmajor7 chord is the only forte chord other than the ending chord which is an A major7 in the instrumental parts, but with a low F “fog ” in the tape part.

5 Figure 2: Marshall, Fog Tropes

4’00’’ to 4’30’’

The electronics within "Fog Tropes" are used with an accompanied nature and do not take on a lead role. Marshall uses the "tape" to show the atmosphere of the work.

Within the tape part, he used recordings of fog horns, winds, sea birds, and other ambient sounds. These aspects help the listener connect to the acoustic instruments in the overall "feel" of the work.

Trumpet Technique

The trumpet’s function in Marshall’s “Fog Tropes” is to be part of the ensemble and add to the overall feel of the piece. The trumpets have one major function different from the other brass musicians; to sound like boat horns going past. The effect is accomplished by playing a “sighing figure” where trumpets play the first note and diminuendos on the second note, also lowering the second note a half or whole step.

(Figure 3) The effect is used throughout the entire work. Another highlighted moment for the trumpets occurs at 6’30’’ marking. (Figure 4) Marshall brings the trumpet out of

6 character and uses the trumpet as a lead line repeating the same four quarter notes.

The repeating phrase seemingly grows stronger each time through the use of a higher tessitura within the other instrumentalists and fermatas. With these aspects, the 6’30’’ module is the first time in the piece the audience hears a strong sense of time and rhythm.

Overall, from a playing perspective, the trumpet parts are relatively easy for most classically trained musicians. However, the part does require delicate playing with an accurate use of soft dynamics.

Figure 3: Marshall, Fog Tropes

1’45’’ - Trumpet 1

7 Figure 4: Marshall, Fog Tropes

6’30’’ to 7’00’’

8 Chapter 2: Karlheinz Stockhausen - Pietà

Karlheinz Stockhausen (1928-2007) is one of the most influential composers of the 20th Century. Stockhausen continually pushed the bounds of music through the use of electronics in his compositions. He started composing in the early and quickly grew with “” (1951), “” for (1952), and “KONTRA-

PUNKTE” (1952/53). Stockhausen composed “376 individually performable works” and was involved in the majority of his works as conductor, performer, or “directed the performances as sound projectionist.” From 1977 to 2003, Stockhausen worked on completing his cycle of (The Seven Days of the Week) which is roughly 29 hours of music. All of these works have had a world premier with “SONNTAG” and

“MITTWOCH” (Sunday and Wednesday) being premiered after Stockhausen’s death.6

“Pietà” is from the larger work “Dienstag aus Licht" (Tuesday from Light) and occurs in the second act of the work. “Pieta’” was first performed on September 29,

1991 at the Alte Oper Frankfurt with Markus Stockhausen (flugelhorn), Annette

Meriweather (soprano), and Karlheinz Stockhausen (sound projection). “Pietà” begins around the 28’03’’ marking in the . The world premiere of the full opera “Tuesday from Light” was on May 28, 1993 at the Leipzig Opera with the same soloists.7

6 http://www.karlheinzstockhausen.org/pdf/short_Short_Biography_English.pdf

7 Karlheinz Stockhausen. Pièta: für Flügelhorn, Sopran und Elektronische Musik, oder für Flügelhorn und Elektronische Musik : vom Dienstag aus Licht : 1991, Werk Nr. 61 1/2. Kürten, Germany: Stockhausen- Verlag, 1995. IX.

9 Stockhausen started composing “Pietà” while living with his son Markus in a log house on a lake in Sweden. “Markus had a quarter-tone flugelhorn specially constructed out of a flugelhorn, built around 1930-1940. We experimented as I composed, and daily tried out and improved the newly written passages.”8 Markus

Stockhausen added that they spent ten days in the cabin together where “He (Karl

Stockhausen) composed on a daily basis and I made suggestions for melodious fragments with quarter tones that he then incorporated into the compositions… Peace was among us. It was beautiful, intimate time, perhaps the last opportunity to be so close.”9 In the “Pietà” score, Stockhausen adds pictures of the performances and certain aspects like the stage setup, mute belt, and Markus Stockhausen’s flugelhorn to help with the performance aspects of the work. In Figure 5, Stockhausen shows how the wireless is added to the quarter-tone flugelhorn.

8 Karlheinz Stockhausen. Pièta. IX.

9 “With Karlheinz Stockhausen”. http://www.markusstockhausen.de/trompeter-musiker-komponist/227/mit- karlheinz-stockhausen/?lang=en

10 Figure 5: Marcus Stockhausen’s Quarter-tone Flugelhorn 10

“Pietà” fur Flügelhorn, Sopran und Elektronische Musik oder fur Flügelhorn und

Elektronische Musik vom Dienstag aus Licht was written in 1991 and is “Werk Nr.: 61

1/2” in Stockhausen’s catalog. Stockhausen gives an introduction, performance practice, and notation notes before the score of “Pietà” in both English and German. He also adds a translation of the instructions from the score. The piece is scored for flugelhorn, soprano, and electronics, but Stockhausen only gives the first two pages of the electronics notation before the flugelhorn plays on page 3 of the score. After,

Stockhausen writes just the notation of the flugelhorn and soprano with markings for the electronics. The flugelhorn is written in the key of Bb and the Soprano in concert key.

The and instructions within the score are in German.

Within the “Introduction” of the score, Stockhausen goes into detail about some of the aspects of performing the piece, including staging of the beginning where:

10 10 Karlheinz Stockhausen. Pièta. IV.

11 “In the 2nd INVASION, namely, one of MICHAEL-trumpeters is wounded. A woman - the soprano - appears, and sits down. The trumpeter laid across her lap in a way similar to that in which Christ is seen on the lap of his mother Mary in PIETA paintings and sculptures. The soul of the trumpeter then rises out of his body, hovers behind the soprano, stands very large as a spirit behind her and plays - on flugelhorn - the with her while she constantly looks at the body on her lap or sings upwards towards the heavens”11

Stockhausen continues with how to perform the piece apart from the LICHT opera, and gives further instruction to the trumpet player pending on the ability to play lying down or not.

Figure 6: Staging for Pieta’ 12

After the introduction, Stockhausen writes the “Performance Practice” section of the score. He goes into great detail about the sound equipment and draws diagrams of the placement and the mixing console. (Figure 6) He states that the best room for performance is in a cubical area about 14 meters high, and the

11 Karlheinz Stockhausen. Pièta. IX.

12 ibid. coverart.

12 should have a flat floor with a little reverb. Also, if the auditorium has a balcony, “then listeners should be seated neither on nor below it.”13

Figure 7: Stockhausen’s Diagram of Loudspeakers and Mixing Console14

As seen on the mixing console (Figure 7), Stockhausen uses spatial relationships in the electronics. He also adds that a monitor should be placed behind the flugelhorn player in order to keep the soloist together with the electronics and (as seen in the mixing console diagram) every sound is channeled through the monitor. Stockhausen adds that the flugelhorn and soprano should be very familiar with each other’s parts, so that the piece can be performed memorized, and be able to “synchronize themselves through upbeats of soft inhaling noise.”15

In the “Notation” section of the score, Stockhausen writes notes on the electronics music, soloists, time notation, and instructions for amplification.

Stockhausen goes into some detail of how to play certain aspects of the flugelhorn part

13 Karlheinz Stockhausen. Pièta. X.

14 ibid.

15 ibid.

13 in order for the correct pitch to be accomplished. In addition, he states the tempos that are marked in rectangular boxes be exact and that tempo changes are immediate if no other time alternating symbol is marked.16

Analysis

Stockhausen writes his work without a time signature or key signature, but using traditional rhythmic notation and bar lines. Each musical bar contains between 3 to 7 beats per measure with the quarter note getting the beat. The work begins with electronics from the larger opera, and then the flugelhorn plays (ca. 33’18”) a virtuosic before the duet part with the soprano. (ca. 35’39’’) As seen in Figure 8,

Stockhausen’s use of the trumpet is more rhythmically active than that of the soprano.

This rhythmic activity continues throughout the entire piece. Also, the first time the soprano sings, Stockhausen writes a unison pitch for the soloists. The author’s opinion is the unison note is intentional to solidify the correlation between “the wounded

Michael’s trumpeter” and “Eve” in the opera and to keep the soprano on pitch with the trumpet. Figure 9 is a chart that marks when the soloists begin a passage together on the same note. In almost every passage where the soloists begin on the same note, the unison pitch becomes a foundation for the following passage.

16 Karlheinz Stockhausen. Pièta. XI.

14 Figure 8: Stockhausen’s Pietà

Pietà Number 23

Stockhausen has a major shift in idea beginning in measure 81. The soprano part becomes more rhythmically active with many leaps and starts singing a wordless voice part. The soprano octave leaps are generally wind glissandi.17 This section ends in measure 129 with the flugelhorn playing a short ten measures alone.

The flugelhorn plays almost erratically between fast and slow.

The next section is marked by the octave leaps of # in succession from flugelhorn and soprano in measure 130. The trumpet plays a similar rhythmic figure as before both soloists play chromatically for the next twelve measure. The chromaticism ends a “development” section. The soprano begins to sing lyrics again starting on the fourth beat of the 144th measure.

The electronic tape portion of “Pietà” acts as a pedal for the instrumentalists, and overall is not as involved as the other tape parts is within the entire opera. The soloists throughout the piece do play the same note as the tape pedal occasionally. The other

17 “Wind ” is a term Stockhausen uses in this section.

15 electronic aspects of the work come from the on the soloists that help with the dynamic of the softer techniques used within the piece. “Pietà” has been recorded without the electronic aspects. Without the electronics, the recordings are not as long as with electronics and seam to lose the overall feeling of despair the audience can feel from the constant drone.

Figure 9: Chart of Soloists starting passage on the same note

Pieta Note Information Measure #

1 23 Eb Quick Starting Pitch

2 28 Eb - F

3 35 Eb

4 41 Ab - G

5 51 Gb Similar to 28 with switched rhythmic activity

6 70 F - Gb - F

7 77 F - Gb - F Similar to 28

8 84 C#

9 130 C# Off set by eighth (echoed)

10 150 D Soprano above Flugelhorn (quick starting pitch)

11 154 C#

12 169 Ab Soprano above Flugelhorn

13 180 B

14 187 B-D Starting Note for Soprano in m. 188

14 195 B Soprano above Flugelhorn

15 211 Bb

16 Trumpet Technique

As stated before, the flugelhorn is one of the soloists of “Pietà”. The part is extremely difficult for many reasons: extended techniques, range, mute technique, multiple , pedal tones, quarter-tones, and breath control. Stockhausen does give some advice to the flugelhorn in the “introduction” and “notation” sections of the score. Within the introduction, he states that the piece is for a flugelhorn, and adds that eighth tones can be played with alternate fingerings. He adds that the range of the flugelhorn part is roughly 5 . Stockhausen states:

“By way of a special half-valve technique, vowel sounds and vowel transitions are played by the flugelhorn which sometimes resemble a movingly ‘weeping’ human voice. Many new coloured noises (wind) - as differentiated in pitch as normally played pitches - Render the work a unique, new sound world: kissing- noises into the , new kinds of tremolo, tongue-trills, soft tonguing- technique, use of plunger mute.”18

The opening figure of the flugelhorn (Figure 10) uses many of these techniques.

The part begins with the flugelhorn playing with a plunger mute and in the lower range of the instrument, but within the next measure has the soloist leaping two and half octaves. Additionally, within the first four measures, the flugelhorn is required to flutter- tongue, advance plunger technique (shown on the bottom of the score), “fast tongue trill with next adjacent natural tone usually a ” (Zungentriller), glissandi, multiple tonguing (ta ke, ta ke), and soft tonguing (weicher ZungenstoB).

18 Karlheinz Stockhausen. Pièta. X. IX.

17 Figure 10: Stockhausen’s Pietà

Pietà Number 23

In the “notation” section of the score, Stockhausen states that some notes are notated as phonetic signs and are not played “normally”, but rather with the tongue on the mouthpiece or by blowing in/out of the trumpet through the mouthpiece. “The phonetic signs should be articulated according to the phonetic alphabet.” Stockhausen also gives a reference to a book to help the soloists know the phonetic alphabet. For a note that requires breathing in and out of the horn, he states the flugelhorn must finger a half-step lower in order to get the correct pitch. Furthermore, Stockhausen goes in- depth with his markings for the plunger mute. (Figure 11) Normal plunger notation only involves a symbol for open (o) and a symbol for closed (+). Stockhausen goes into detail, even adding that the player should wear a mute belt which can be seen previously in Figure 6. He adds phonetic signs below in order to show how the plunger should be used as well as whether to have a quick transition between signs or a slower transition. At the end of the notation section for the flugelhorn, Stockhausen states that for “pronunciation of all text and for all of the flugelhorn the recording… with

Annette Meriweather and Markus Stockhausen can serve as a model.”19

19 Karlheinz Stockhausen. Pièta. X. XI.

18 The technique required makes “Pietà” very difficult. Most of these techniques are rarely covered within the normal educational system of teaching trumpet and are normally only addressed if they are within a piece the student is playing. Also, the quarter-tone flugelhorn is an odd abnormality to the normal trumpet, and requires a different way of playing and practicing.

Figure 11: Stockhausen’s Pietà

Mute Technique Description

19 Chapter 3: Igor Silva - zap_ping_

Igor Silva is from Porto, and is devoted to composing electroacoustic music and new media music. Silva has studied composition at Escola

Superior de Música, Artes e Espetáculo where he finished with a bachelor’s and a master’s degree in music. Silva has also finished a master’s degree in live-electronics at

Conservatorium van Amsterdam in 2017 and is a PhD candidate at Vrije Universiteit

Brussel and Koninklijk Conservatorium Brussel.

“zap_ping_" for trumpet, percussion, electronics and video was composed in

2014 and was commissioned by duo.pt.20 The score was sent to me via email from Igor

Silva. The work is roughly fifteen minutes in length and requires only two instrumentalists to play. The electronics are controlled through a MIDI foot pedal by the percussionist. Within the score of the work, Silva lists several important aspects for performing the work including: special notation for both instrumentalists, electronics, video, required equipment, and a diagram of stage set up. (Figure 12) Silva also states the importance of keeping “the volume of the entire piece considerably loud, but not painful!"21

20 A percussion trumpet duo from Portugal.

21 Igor Silva. zap_ping_. 3.

20 Figure 12: Diagram of zap_ping_ electronics22

Three Apple computers are used in the electronics/video of the work. One computer runs the audio interface through Max/MSP with a MIDI pedal and MIDI splitter connected. The MIDI portion of the first computer connects to the other two computers that are running programs for video. The two video computers use webcams to live broadcast the two soloists during the performance, and the stream is turned on and off through the MIDI pedal that is used throughout the piece. The webcams are placed on mic stands in order to get the desired location. Furthermore, Silva states the resolution of the video should be 1024 X 768 and "the concert hall should be as dark as possible and a few music stand lights (with filters) should be used so the performers can see the score."23 Other electronics involved in the work are loud speakers, (s), audio monitors for musicians, and a microphone to amplify the trumpet.

22 Igor Silva. zap_ping_. 5.

23 ibid.

21 The score of the work is in concert key and shows the trumpet staff, two staffs for percussionist, and one line for the electronics.24 The piece uses many different time signatures that change frequently, but mostly use the quarter note as the beat. Silva also rarely uses time signatures such as 3/8 or 7/8, but instead will write 1/4+1/8 or

3/4+1/8. Furthermore, he will use the length of time in seconds bracketed over the score for when no time signature is given.

Analysis

Silva's “zap_ping_” is written with the trumpet, percussion, and electronics to mesh as one with the instrumentalists many times copying the sound of the electronics.

Figure 16 is an analysis of the form of the piece. Because the work does not lend itself to being analyzed in a formal sense, I was able to take the recording of the work

(provided by the composer via YouTube) and make time stamps that match with measure numbers during section changes.

The beginning material is the basis behind most of the composition and is used as a theme of sorts. Shown in Figure 13, the material at the start is consistently going from chaos to silence. To add to the chaos, the video is also flipping between the live video feed of the instrumentalists and what seems to be random pictures or video clips before going completely dark in the silence. The pictures are added into the video in a subliminal message kind of way. The "beginning" theme happens seven times with minute differences and roughly lasts around 30-40 seconds each time. The main difference between the “beginning” theme and the others are that the percussion and trumpet will not play together and will play every other measure with the electronics.

24 Score does not give any camera information.

22 The most notable section starts in measure 207 or 9’53''. The instrumentalists (both with electronics) have a call and response section with the "beginning" theme. First the players trade two bars, then one bar, then finally . (Figure 14)

Figure 13: Igor Silva's zap_ping_

measures 1-8

Figure 14: Igor Silva's zap_ping_

measures 207-224

23 Another frequently happening aspect is the "percussions transition material." The first occurrence of the material happens in measure 37 right before the first style change of the work. (Figure 15) The "transition material" is a rhythmic figure of sixteenth notes played on the drum and low tom. The material happens nine times within the piece and always a change is coming.

The electronic aspects within this piece play a large role. In a way, Silva splits the electronics into two separate performers: audio and video. The "audio" performer acts as accompanist to the other performers. The "video" performer, which at times includes audio (TV commercials), is an outside aspect that gives the music a visual representation. The "video" is also included within the main sections of the work, giving the audience a better insight to the idea of the composition. The video themes can be seen from the start of the piece in the “beginning” theme, as well as the "blurry, psychedelic" moments of the composition.

Figure 15: Igor Silva's zap_ping_

measures 37-40

24 Figure 16: Igor Silva's zap_ping_ Analysis

Time Measure Information Drum Stamp Number Transition?

0:00 1 Beginning

0:39 18 Voice in Electronics. "Well ...in American mostly for entertainment" 1:05 37 First Drum Transition Theme yes

1:58 54 Beginning theme, C m. 52

2:12 62 Improve Drums, D

2:41 80 Beginning theme, E

2:57 88 Beginning of Next Section, eighth notes in percussion, F

3:15 95 Trumpet Lyric Line

3:59 115 Beginning theme, G

4:21 127 Computer lead

4:50 135 Psychedelic Video, Slow Mo, Blurry m.132

6:30 150 Beginning theme, H

6:56 170 1st TV Commerical, I m.165

7:05 171 Beginning theme, but with Voices in the electronics

7:44 193 ! , K, Same Blurred Video m. 179, 181, 192

8:53 201 End of Guitar Solo

9:53 207 Call and response with Trumpet and Drums, both with electronics 10:25 239 2nd TV Commercial m. 236

10:38 243 Same Blurry Video, N m. 241

11:31 250 entrance

12:30 252 Drum Transition Material yes

12:39 254 Next Section with sixteenth notes in percussion and electronics, O

13:38 275 Trumpet sixteenths

14:37 301 Beginning theme, P

14:49 309 Ending, Coda? m. 308

25 Trumpet Part

The trumpet within “zap_ping_” is acting as part of a trio ensemble along with the percussion and electronics. Silva mostly uses the trumpet with "wah-wah/plunger mute" and with cup mute. The "wah-wah" mute is played by using a harmon mute with stem and covering/opening the stem hole with the hand causing a "wah" sound. The part is heavily improvised, but not in traditional . The improvisation within the work is mostly to copy the sounds of the electronics in the chaotic sections. In Figure

17, Silva gives the trumpet player three alternative notations he used for the part that primarily deal with improvisation.

Figure 17: Igor Silva's zap_ping_

Trumpet Notation

The trumpet part, in general, is fairly difficult. The range of the work is mostly up to the performer because of the improvisation, but the written range is from the Db above the treble to the A below the staff. Surprisingly, the pieces does not call for any multiple tonguing technique because every phrase is slurred, but does required good finger technique and flexibility.

26 Chapter 4: Natasha Barrett - Crack

Natasha Barrett is a composer, performer, and researcher from the United

Kingdom and currently lives in Norway. Her works have been performed and commissioned by many ensembles and groups from around the world. Barrett has also received many prizes and awards for her compositions. Barrett states, "I compose acousmatic music, electroacoustic music for live soloists and ensembles, and sound-art installations... Even when composing for acoustic musicians, digital technologies are my core tools."25

As a researcher, Barrett has worked on 3-D gestural-spatial audio imagery, motion tracking, and holographic 3-D sound reproduction.26 On Barrett's website27 she writes,

"I am inspired by acousmatic sound and the aural images it can evoke, particularly in terms of the evocative implications of space and the projection of 3-D sound-fields. Over the past 20 years I have become a specialist in the creative application of very high-order ambisonics and precision spatio-musical forms.”28

“Crack” is for electric guitar, percussion, trumpet, and computer and is written in three movements: "Atomic Crack", "Deep Ice", and "Crack Horizon". The score and audio from a performance was sent to me directly from Dr. Barrett via email. She sent

25 http://www.natashabarrett.org/about.html

26 speculationsinsound

27 http://www.natashabarrett.org/

28 http://www.natashabarrett.org/about.html

27 the score in four files: performance notes and separate files for each movement. The piece calls for four performers with one on each instrument including the computer. The piece was commissioned as a part of the Intregra Project, which was a project with the

"desire to empower composers and performers to work with live electronics technology in a musical and user-friendly way."29 The project was a collaboration between many new music ensembles and was supported by the European Commission.

Within the performance notes of the score (which had been updated in 2011),

Barrett has directions to each instrumentalist that include definitions of the abnormal notation. She also adds a "suggested instrument layout" for the percussion. Within the guitar section of the notes, Barrett includes aspects of the electronics for the main loudspeaker and various other electronic sound related information. In addition, the guitar part uses an "" and a spoon. The trumpet section mostly has alternative notation definitions. The largest section of the performance notes is for the computer performer. Barrett includes directions for the mixer, loudspeakers, microphones (for each instrument), amplification and routing, on-stage monitors, location of the computer and mixing desk, and motion sensors and interface.

The electronics in this piece are run through the program Max/MSP and, according to Barrett, "is substantial and requires its own performer in addition to the person mixing the sound."30 The computer is also slightly controlled at times by the percussionist who is connected through motion sensors. Barrett adds that the synchronization and interaction of the electroacoustic part is substantial, and says:

29 Minquito. “Integra, a novel approach to music with live electronics”. Nordic Sounds. no. 4. 12/11/2006. https://www.lambertococcioli.com/?s=Barrett

30 Natasha Barrett. Crack. Performance Notes. 6.

28 "to achieve this interaction, a series of sensors are connected to the percussionist arms and the output of these sensors used to calculate attack instance, attack velocity and motion direction for the two arms in the vertical plane.”31

Therefore, the percussionist acts as the director of the group and many entrances of other instruments (including the computer) depend on their movements and playing.

The musical score has 8 staffs: trumpet, electric guitar, high (perc), crotales

(perc), metal (perc), wood (perc), skin (perc), and computer. The score is also written in concert key with no key signature. The time signature is mostly in 4/4 throughout all the movements with the quarter note always receiving the beat. Barrett also does not write any notation other than cues for the computer staff. Furthermore, the piece is atonal and involves the use of quarter tones.

Analysis

The beginning of the first movement, “Atomic Crack”, is largely based upon the note B. (Figure 18) Most of the phrases start with the note B in various octaves and all other notes surround the starting pitch until measure 40. The atmosphere Barrett is trying to set is a “crack” on the atomic level. The entire movement is to show how a small crack can grow and become unstable. Barrett states, “As ‘Atomic Crack’ develops, the perspective widens to take in the energy connected with the creation of crack clusters.”32

31 http://www.natashabarrett.org/cracking.html

32 ibid.

29 Figure 18: Barrett’s Atomic Crack

Trumpet and Electric Guitar, measures 1-10

Barrett’s use of short phrases and use of silence helps solidify her idea of

“cracking”. (Figure 19) The movement ends with solo unaccompanied trumpet. The electronic portion of this work is made up entirely of live processed sound played by the instrumentalists running through the computer program. No recorded sound is used.33

Figure 19: Barrett’s Atomic Crack

Score, measures 76-81.

33 http://www.natashabarrett.org/cracking.html

30 “Deep Ice", the second movement, is based on the sound of ice which has been submerged in water, causing the ice to crack. Barrett recorded the sounds of the ice and slowed the recording by the 128 . The “data extracted from this transformation is used to create a framework for the instrumental part.”34 The movement begins with more excitement than the previous. The percussion becomes the lead voice of the ensemble, playing many different sounds between the wood and metal instruments, along with being very rhythmic. (Figure 20) The percussion lead continues until measure 34, which marks the beginning of the trumpet solo continuing until measure 59. After this point, Barrett uses rhythmic intensity to show the lead line throughout the instruments. From measures 96-147, Barrett has a style change where she starts to introduce longer notes that last over many measures within the instrumental parts. The next large section of the work begins in measure 166 and uses the same idea as the first movement. As seen in Figure 21, again Barrett uses short phrases and silences within the work to show the “cracking” process. The percussion continues to take over the lead role within the ensemble until measure 224. All the acoustic instruments stop playing in measure 224, while the computer continues to play until the end of the movement.

34 http://www.natashabarrett.org/cracking.html

31 Figure 20: Barret’s Deep Ice

Score, measures 1-5

Figure 21: Barrett’s Deep Ice

Score, measures 1-5

The last movement of the work, “Crack Horizon”, is the shortest of the three movements and, in essence, is a percussion feature while the other instruments hold a

“pedal” for the solo. Barrett’s only statement on the last movement is “Crack Horizon takes such a wide angle that the percussionist articulates points on a distant field and

32 acts as a disturbance to the continuity of the sustaining instruments.”35 The trumpet, at the beginning of the last movement, is instructed to go off stage to another microphone and only play air sounds. The guitarist is also instructed to put the instrument on a stand and walk off stage towards the end of the work as the percussion continues.

As stated previously, Barrett uses the electronics as the main source of most of her electroacoustic compositions. Within the first movement of "Crack", the electronic portion is derived by the other instruments and gives the electronics a slightly under written quality compared the second movement. Barrett's "Deep Ice" uses the electronics in a completely different way. The instrumentalists are still playing through microphones that are converting sound through live processing, but Barrett also uses prerecorded sound used within the live processing of the acoustic sounds. The idea and sound of water is clearly present throughout the second movement and at times seems like the sound is coming from underneath water. This atmosphere helps with the overall idea that Barrett is conveying.

Trumpet Part

The trumpet plays a large role in “Crack” and is used as a solo instrument in the work as well as having a part within the ensemble. Barrett asks the trumpet to do many different articulations: air note, flutter tongue, half-valve, and percussive tongue slap.

Within the performance notes of the piece, Barrett explains the different articulations as well as the alternative notation she uses for each one. (Figure 22) The piece also involves the trumpet performer to gliss with a valve and the use of a variety of mutes. The range of the trumpet is a little more than two and a half octaves. The

35 http://www.natashabarrett.org/cracking.html

33 difficulty of the part is playing the rhythm accurately. As shown in Figure 23, Barrett uses very technical rhythmic figures while having the trumpet play adjunctly. Furthermore, within this excerpt, the trumpet is the only instrument playing, therefore, has no to help play the passage. Another aspect to the part is the use of quarter tones.

Figure 22: Barrett’s Trumpet Notation

Figure 23: Barrett’s "Atomic Crack”

Trumpet Solo measure 116-127

34 Chapter 5: Conclusion

Because computer technology is continually becoming more efficient and affordable, the world of electroacoustic music and composition is constantly changing. A new set of musicians, composers, conductors, and teachers are learning through technology and most have had access to some sort of technology since birth. As the younger generation of musicians and composers continue to grow into a larger role in the music community, electronic music as a whole will become more the future of music.

A Survey of Chamber Works for Trumpet Electronics is to be used as an introduction to show the variety of works for trumpet and electronics through variations of electronics components, chamber ensembles, and extended techniques for trumpet.

The works by Marshall, Stockhausen, Silva, and Barrett cover an array of trumpet and electroacoustic composition techniques, but not all of the assortment of techniques that are being used throughout all electroacoustic works.

The trumpet technique required for many works in the literature goes beyond the standard teaching and further research should be done on how to include this “new” medium into the standard repertoire. It is my hope that the information given will encourage trumpet players to explore the electronic repertoire.

35 Bibliography

Barrett, Natasha. Crack.

“Bio” http://www.ingrammarshall.net/long

“CRACK.” http://www.natashabarrett.org/cracking.html

“Dr Natasha Barrett.” http://speculationsinsound.squarespace.com/natashabarrett/

”Fog Tropes (Brass Version)” http://laphillive.net/philpedia/music/fog-tropes-brass- version-ingram-marshall

Marshall, Ingram. “Shudder Island.” Monday 22, 2010. http:// ingrammarshall.blogspot.com/2010/02/shudder-island.html

Marshall, Ingram. Fog tropes: brass sextet and tape. 2010.

Minquito. “Integra, a novel approach to music with live electronics”. Nordic Sounds. no. 4. 12/11/2006. https://www.lambertococcioli.com/?s=Barrett natashabarrett.org/about.html

Silva, Igor. zap_ping_.

Stockhausen, Karlheinz. Pièta: für Flügelhorn, Sopran und Elektronische Musik, oder für Flügelhorn und Elektronische Musik : vom Dienstag aus Licht : 1991, Werk Nr. 61 1/2. Kürten, Germany: Stockhausen-Verlag, 1995.

“With Karlheinz Stockhausen”. http://www.markusstockhausen.de/trompeter-musiker- komponist/227/mit-karlheinz-stockhausen/?lang=en

36 Appendix A: Research Methods and Definitions for List of Chamber Works

In the beginning of my research for chamber works for trumpet and electronics, I found there was no comprehensive database. Folkmar Hein’s International

Documentation of Electronic Music is the closest database I was able to find, but lacked many of the works which I had already found. Because of vast amount of works found through various search methods, I decided to create a list of chamber works for trumpet and electronics.

The research started by using the Google search engine and typing in any assortment of trumpet, chamber, and electronics into the search. The search led me to an assortment of composers, ensembles, college websites, and audio/video websites, like YouTube, in various languages. For any list that has been made in the past, like that of the International Documentation of Electronic Music and World Cat Library, I searched each individual composer for an online presence, as well as a list of works.

This aided in making sure the composer did write certain pieces as well as providing more information on works, such as recordings or length of the composition. The search formulated the list of works for this medium with the understanding to further the advancement of trumpet music through chamber works with electronics. The list below

(Figure 24) only contains the composer, title, instrumentation, and year written.

Definition of Electronics as it pertains to the List of works.

For this document, electronics is defined as any music that involves electroacoustic compositions, live electronic processing, tape music, amplification of

37 acoustic instruments, and any music providing an electronic component. The only exception was if the electronic element was an instrument that normally uses electronics such as electric guitar/bass or keyboard.

Definition of Chamber Ensemble

For this document, a chamber ensemble is defined as any group not labelled as a large group (orchestra or ) and a group of less than 15 players, unless in a case where any one composer lists their work as .

38 Appendix B: List of Chamber Works for Trumpet and Electronics

# Composer Last Composer First Title Instrumentati Year on 1 Alves Bill Rubber Time trumpet, electronic percusion, precision, 2 Azguime Miguel Mammoths trumpet, flute, 1998 Over the prepared , Rainbow percussion, live electronics 3 Balke Jon Kvartett trumpet, percussion, piano 4 Barkl Michael Music for two two trumpets 1978? trumpets and tape delay 5 Barrett Natasha Crack Process trumpet, percussion, electric guitar, live electronics 6 Barrett Richard Temptation sax, tpt, vc, 1986 synt, perc 7 Barrett Richard world-line 2012 trumpet/ quartertone flugelhorn, percussion, electric and electronics. 8 Barrett Richard wake , , 2014 percussion; bass , trumpet, piano contabasscello,

39 # Composer Last Composer First Title Instrumentati Year on 9 Barrett Richard šuma trumpet(s), 2013 recorder(s), , accordion, , electronics 10 Barrett Richard close-up trumpet(s), 2013 recorder(s), harp, accordion, cello, electronics 11 Barrett, Impett, Richard, Jonathan, IBP3 Keyboard, 2001 Parker Evan, trumpet, 12 Becker Günther Scanning 2 tpt, hn, 2 trbn 1970

13 Bennett William WHITEHOUSE 10 amp ins (cl, 2009 tpt, trbn, p, hp, perc, vn, vc, db, elec) 14 Biggs Christopher A Letter to the Trumpet, 2016 Moon prepared piano, percussion, computer 15 Biggs Christopher Fractures of 2 soprano sax, 2013 Echoes , 4 trombones, 2 , 5.1 audio, and video 16 Biggs Christopher Decade Zero brass , 2016 computer 17 Bönn Georg 36 samples of flute, , 1995 horn, trumpet, violin, , , and tape 18 Boudreau, Walter, Raôul, Golgat(h)a 2 tpt, 2 hn, 2 Duguay trbn, 1 tuba, sam, org, 5 perc 19 Bredemeyer Reiner Der gute Gott fl, acc, sax, ob, 1977 von Manhattan bn, p, tpt von Ingeborg Bachmann

40 # Composer Last Composer First Title Instrumentati Year on 20 Breitenfeld Roland Halbe Zeiten trumpet, percussion (2 big tom-toms, 2 hi-hat) and tape 21 Brncic Gabriel Ergon 4 tpt, amp vc 2000 Rondeau 22 Brown, Perkis, Chris, Tim, Phil Duo perc, tpt Stone 23 Brün Herbert Sonoriferous flute, bass, 1964 Loops trumpet, 3 percussion 24 Buller John Le Terrazze fl, ob, cl, bn, 2 1974 hn, trbn, tpt, perc, vn, va, vc, db 25 Burlas Martin Kriz a kruh (the 2 tpt 1989 cross and the circle) 26 Cardi Mauro Le Parole da vocalist, 2007 sola trumpet, electric guitar, percussion, contra-bass, electronics 27 Cardi Mauro Un gioco a vocalist, 2007 incastro trumpet, electric guitar, percussion, contra-bass, electronics 28 Cardi Mauro Noi siamo la vocalist, 2007 materia che trumpet, sussulta electric guitar, percussion, contra-bass, electronics 29 Cardi Mauro The Spark to flute, clarinet, 1996 the Flame trumpet, percussion, viola, cello

41 # Composer Last Composer First Title Instrumentati Year on 30 Cerrone Christopher How to Breathe trumpet, male 2011 Underwater voice, trombone, and bass clarinet 31 Chafe, Morrill Chris, Dexter, Duo celletto, tpt 1988 Improvisation 32 Chagas Paulo Oddort T, 2 Bar, B, 1989 actress, actor, sax, tpt, trbn, vn, db, p, 2 perc 33 Chagas Paulo Transparência 3 tpt 1992

34 Cizek, Musil, Martina, Wolfgang, Glissanthemen p, tpt 1994 Bruckner Silvia, 35 Cocco Enrico Un poetico e tpt, hn, trbn, 1992 notturno tuba, cl, perc, p, silenzio (risonante) 36 Dambrain Cédric Blazek two trumpets, 2006 , electronic keyboard, live electronics 37 Dashow James Morfologie hn, tpt, 1993 Flügelhorn 38 Dashow James of soprano, flute, Despair clarinet, , trumpet, trombone, violin, cello, harp, 3 percussion, 39 de Wit Harry for the prep p, hn, tpt, 1993 Pigeons inss 40 Decoust Michel hn, tpt, trbn 1971

41 Deniosos Anargyros 4 X 4 pic-fl, tpt, p 1987

42 Deniosos Anargyros Light fl, cl, tpt, db, 1986 p,perc 43 DeSantis Dennis Until word is trumpet, organ, 2001 cornered all voice math is fiction

42 # Composer Last Composer First Title Instrumentati Year on 44 Dolden Paul The Heart 4 saxes, 4 1998 Tears for trumpets, 4 Saxes and trombones, Brass and tape 45 Dolden Paul Rave #1 trumpet, 2005 electric guitar, vibraphone, piano, acoustic or electric bass, tape 46 Duchnowski Cezary monad 2 voice, trumpet, 2003 computer 47 Dunn David Efflux trumpet, violin, 1971 cello, electronics 48 Eckert Gerald offen - fin des flute, clarinet, 2002 terres , two percusion, piano, violin, and two tapes 49 Ellis Merril Mutations: for 196? brass quintet and electronic tape 50 Elmsly John Gestauqua : for Brass Quintet 1989 brass quintet and tape 51 Emmerson Simon Reflections tpt, cl, s-sax, 998/999 perc, p 52 Everett Steven Sea.Rock City : trumpet, 1989 for trumpet, trombone trombone and HMSL programming language 53 Fenner Burt Prelude for brass, 1973 brass, timpani, and stereophonic tape 54 Ficarra Evelyn Brasserie tpt, hn, trbn 1991

55 Finney Ross Lee Three Pieces: strings, winds, 1975 strings, winds, percussion percussion and tape

43 # Composer Last Composer First Title Instrumentati Year on 56 Fitz Kelly Our tpt, trbn 1993 Chrysanthemu ms will float in Zürich 57 Fômina Silvia Angehaltene T, vc, acc, tpt, 2010 Zeit , Este trbn camino que llevo 58 Forhsee Jon Port of the trumpet, Sheltering Sky percussion, for trumpet piano percussion and electronics 59 Friedl Reinhold Xenakis [a]live! bass clarinet, 2004 trumpet , tuba, violin, cello, double-bas, piano, percussion (all amplified)m electronic 60 Friedl Reinhold no:no bass clarinet, 2005 trumpet , tuba, ciolin, cello, double-bas, piano, percussion (all amplified)m electronic 61 Friedl Reinhold Global music with 2003 Concern fashion and dance, clainet, trumpet, tuba ciolin, cello, double-bass, piano, sampler, percussion 62 Fulkerson James Music for Brass trumpet with 1982 instruments VI four trumpets 63 Fulkerson James Now II trumpet, 1969 trombone, amplified , sound modulator

44 # Composer Last Composer First Title Instrumentati Year on 64 Fulkerson James Track Follows trumpet, 1983 trombone, fixed media, live electronics 65 Garcia del Valle Jorge Waterdreams two trumpets, 2006 Méndez two trombones, electronics 66 Gehlhaar Rolf Origo clarinet, 1987 trumpet, cello, percussion, keyboards, all amplified 67 Gehlhaar Rolf Infra oboe, 2 clarinet, 1985 trumpet, trombone, two violin, viola, cello, double bass, all amplified 68 Gibson John Out of Hand trumpet, 2008 trombone, and computer 69 Gilbert Peter the bold arch of flute, clarinet, 2006 undreamt sax, bassoon, bridges trumpet, violin, viala, cello, percussion, live electronics 70 Giroudon, James, Jacques Tromperie tpt, perc 1987 Mayoud 71 Globokar Vinko Blinde Zeit flute, trumpet, 1993 percussion , piano, violen, alto, cello 72 Graebner Ric Dozens trumpet, 1990 through the percussion, Window viola, guitar, and tape 73 Grandi Giancarlo Studio cl, tpt 1992

74 Hackbarth Ben Lines of trumpet, violin, 2004 Communicatio piano n for trumpet, violin, piano, and electronics

45 # Composer Last Composer First Title Instrumentati Year on 75 Hackbarth Ben Points of 2002 Reference 76 Harrison Jonty Ripieno s-sax, tpt, vc, 1988 synt, MIDI-mar 77 Harrison Jonty Ottone brass quintet 1992

78 Hartlieb, Tahriri Florian, Madjid Be here now p, tpt, cl, trbn 2009

79 Hartman Hanna Shanghai perc, tpt 2010 Fireflies 80 Hartman Hanna BLACK trumpet, horn, 2011 tuba, amplified Starch 81 Harvey Jonathon Smiling chamber 1977 Immortal ensemble of 11 players 82 Harvey Jonathon Bhakti chamber 1982 ensemble of 15 players 83 Harvey Jonathon Bird solo piano, 2001 with Pianosong chamber orchestra 84 Harvey Jonathon Two Interludes chamber 2003 for an Opera ensemble of 22 players 85 Harvey Jonathan Smiling fl, ob, hn, tpt, 1977 Immortal perc, p, str-qt 86 Harvey Jonathan Valley of Aosta fl, ins (ca), sax, 1988 tpt, str-qt, 2 hp, p, perc, synt 87 Hearne Ted But I voted for trumpet, flute, 2012 Shirley chisolm clarinet, () : trombone, version for 11 piano, electric instruments guitar, drum and fixed set, electronics electronics, two , viola, and cello 88 Hearne Ted Crib Dweller trumpet, bass 2007 clarinet, elec. guitar, trombone, horn 89 Herriott Jeff A Glance at the trumpet, 2008 Sun percussion

46 # Composer Last Composer First Title Instrumentati Year on 90 Hirsch Michael Die Klage des Bar, fl, cl, tpt, 2005 Pleberio acc, hp, e-gui, p, vib, 2 vn, 2 vc, (CD-player) 91 Höller York Mitarbeit tpt, cl, vc, Kbd, 2013 (Blackdeath-) synt, 92 Hülcker Neele Zu spät für das tpt, trbn, 2 perc, 2014 Privatleben gui, vc 93 Hvoslef Ketil Erkejubel 2 tpt, 2 trbn, 1982 synt, perc 94 Ignatowicz Anna That's only perc, tpt Time 95 Ignatowicz Anna It is only Time trumpet, 1996 … (To tylko percussion, tape czas…) 96 Impett Jonathan Gandharva tpt, cl, db, vc, 1988 Kbd, perc, e-ww 97 Jodlowski Pierre De front clarinet, 1998 (quatuor) trumpet, percussion, 98 Kalitzke Johannes memoria 2 tpt, 2 trbn, 2003 perc, amp acc, amp , e-gui, Kbd (Glasharmonika, Sampler) 99 Kampe Gordon Die Sonne flute, trumpet, 2010 wandert schnell percussion, - casio VL-1 Gasthauskempe rmannvariatione n 100 Kampe Gordon Zwerge flute, clarinet, 2011 trumpet, percussion, electric guitar, electric bass, piano , synthesizer, violin, viola, cello

47 # Composer Last Composer First Title Instrumentati Year on 101 Karel, Ernst, Kyle, no sign ob, tpt, (analog 2002 - 2004 Bruckmann elec) 102 Karel, Ernst, Kyle, Object2 ob, tpt, (analog 2005 Bruckmann elec) 103 Kirchoff Keith Irrational trumpet, rev. 2016 Rationalities percussion, piano 104 Knight Morris Toccata : for Brass Quintet 1989 brass quintet and audio 105 Kolberg Kåre Varia fl, tpt, perc, Kbd, 1980 db 106 Kretz Johannes Ariel for 10 trumpet, 1992 instruments percussion, DX7, piano, string sextett 107 Krzanowski Andrzej 3rd Programme actor, S, tpt, 1974 bar-sax, 2 acc, e-gui, 11 perc, (5 projectors) 108 Kuhn Hans Peter Deep Field Line db, tpt 1993

109 Lanza Alcides Acúfenos V : trumpet, piano 1982 for trumpet, piano, electronic and computer sounds : 1980- II

110 Lanza Alcides Interferences trumpet, two 1983 flutes, oboe, I : for two clarinet, trombone, groups of wind horn, tuba

instruments

and electronic

sounds : 1966-

II

48 # Composer Last Composer First Title Instrumentati Year on 111 Lazarof Henri Concertazioni : trumpet/ for solo flugelhorn, trumpet, 6 flute, clarinet, instruments, harp, and tape percussion, horn, violoncello 112 Lefebvre Claude Mosella org, 2 tpt 1984

113 Lévinas Michaël Les Rires du pan fl, cl, hn, tpt, 1981 Gilles perc 114 López López José Manuel, Jenseits … tpt, fl, cl, vn, vc, 1993 Diesseits 2 perc 115 Lyon Eric Coral 5 trumpets

116 MacDonald Alistair Strepho amp s-sax, amp 1989 tpt, MIDI-perc, amp p, amp vc 117 Maiguashca Mesias Vorwort zu cello, trumpet, 1989 Solaris percussion, , tape 118 Malec Ivo Vox / Vocis / F vc, db, hp, Mez, 1979 perc, S, tpt, vn, va 119 Man Roderik de Air to Air flute, trumpet, 1998 bassethorn, tape 120 Marshall Ingram Fog Tropes Brass Sextet 1995

121 Martin Anne Le Souffle de trbn, tpt 2003 l'Ange 122 Matalon Martin De polvo y flute, clarinet, 2013 piedra horn, two trumpets, trombone, two percussionists, accordion, piano, violin, two , contrabass, electronic device

49 # Composer Last Composer First Title Instrumentati Year on 123 Matalon Martin La Rosa flute, clarinet, 1992 Profunda bassoon, trumpet, percussion, electric guitar, viola, bass, electronics 124 Matalon Martin Las siete vidas flute, clarinet, 1996 de un gato trumpet, two percussion, piano, violin, cello 125 Matalon Martin Monedas de flute, two 1993 hierro , bassoon, trumpet, harp, two percussion, cello, bass 126 Matalon Martin Rugged lines – fl, cl, b-cl, a-sax, 1997 ballet tpt, 2 perc, p, db 127 Matalon Martin Tunneling flute, clarinet, 2009 horn, trumpet, percussion, cello, contrabass, electronic device 128 Matsudaira Yoriaki Alternation for tpt, perc, b, p 1967 Combo 129 Matthusen Paula The Big Money trumpet, video, 1998 saxophone, two violins, television, sampler 130 Mayer Daniel Lokale Orbits / trumpet, 2013 Duo 2 cymbals, 8 channel tape 131 Menezes Flo Contesture IV - trumpet solo, 1992 - 1993 Monteverdi clarinet, altrimenti trombone, piano, soprano sax, two percussion, two tapes

50 # Composer Last Composer First Title Instrumentati Year on 132 Menezes Flo Contrafact brass quintet 2013 and live electronics 133 Menezes, Ferraz Flo, Silvio Campos de p {4 hands}, 1994 pássaros - synt, vn, sax, cl, Messiaen trbn, tpt, 4 perc, Revisitado elec 134 Mobberley James Icarus Wept trumpet, organ, 1994-97 tape 135 Moran Dexter TARR 4 tpt 1982

136 Moser Michael Resonant cuts 2 perc, db, tpt, 2008 b-cl, elec 137 Moylan William Brass Quintet Brass Quintet 1979

138 Newson George Threw Away a fl, ob, bn, hn, 2 1968 Pearl tpt, trbn, perc 139 Nilsson Bo Wendepunkt Brass Quintet 1981

140 Noca Riccardo Thirteen faces trumpet, two 2007 formula : percussionists version per or three tromp trumpets, percussion ed percussion elttronica 141 Nuñez Adolfo Concierto para fl, ob, cl, bn, hn, 2008 sonido tpt, trbn, perc, vn, va, vc, elec 142 Nuñez Adolfo Images Mez, p, french 1986 hn, tpt, trbn 143 Olbrisch Franz Martin Cross Creek trumpet, two 2006 Road flute, two cellos, two percussion, electric guitar, electric bass, tape 144 Oliver John Before the clarinet, 1988 Freeze trumpet, alto sax 145 Oliveros Pauline Ear Rings: trbn, vc, tpt, acc 2000 Inventionen 2000 146 Orton Richard Timescape S, tpt, org, 1984 (early-music-) ens

51 # Composer Last Composer First Title Instrumentati Year on 147 Ott Joseph Timbres : for Brass Quintet 1973 brass quintet and electronic tape 148 Ott Daniel Blick Richtung five trumpet, 2 2009 Süden trombone 149 Palmer John Reflections trumpet, piano, 1993 electronics 150 Pappalardo Emanuele Studium fl, cl, tpt, p 1992 Punctum 151 Parmegiani Bernard Jazzex sax, tpt, perc, 1966 db 152 Pérez Pena Alberto Medina Azahara tpt, synt, p 1993 bajo la Luna 153 Pinkham Daniel The descent brass, , 1980 into hell : for percussion, mixed chorus, organ soloist, brass, percussion, organ, and electronic tape 154 Pinkman Daniel The Other trumpet, organ, Voices of the electronic tape Trumpet 155 Powell Andrew Variations two trumpets Towards a without mutes, Theme live electronics 156 Raaijmakers Dick vc, 2 tpt, trbn, 1995 tuba 157 Reese Kirsten Wirbligen trumpets, horns, 2007 Signale trombones, (Swirling mobile speakers Signals) 158 Reynolds Roger …the - trumpet, 1978 snapping percussion, eye… piano 159 Roberts Paul Align perc, tpt, cl, p 1991

160 Rocha Iturbide Manuel Transiciones de brass 1993 fase and computer 161 Rodriguez Ana Maria Le Stéréoscope dance, tpt, vn, 2015 des Solitaires , va, vc, elec Das Stereoskop der Einzelgänger

52 # Composer Last Composer First Title Instrumentati Year on 162 Rodriguez Ana Maria shelter ob d'amore, db- 1999 cl, tpt 163 Rodriguez Ana Maria últimas flores en tpt, sam 1998 forma de trompeta 164 Rolnick Neil B. The Persistence celletto, tpt, com 1992 of the Clavé (MIDI system) 165 Ronchetti Lucia Narrenschiffe 2 male V, fem V, 2010 2 tpt, trbn, tuba, perc 166 Rowland David Equale II: for 4 four trumpets 1995 trumpets in B flat (or solo trumpet and tape) 1993 167 Rüfer Rüdiger Doppelrondo tpt, p, drum, gui 1985/1986

168 Rypdal Terje Arktik e-gui, a-fl, tpt, 1988 synt, db, perc 169 Sad Levi Jorge Teatro Astral trumpet, 2009 bandoneon, cello 170 Sarwas Jakub Hybrid tpt, db 1999 Conjunction 171 Schwartz Elliott Telly; for 5 wind wind or brass 1973 or brass players, four players, 4 percussionist percussionist, 3 televisions sets, 2 radios, 1 tape 172 Schwartz Elliott Cycles and trumpet, organ 1977 gongs : for organ, Bb trumpet, and tape 173 Schwarz Diemo Les arbres ont tpt, perc, V, com 2017 bougé pendant la nuit 174 Seglem Karl Lysspyd tpt / Flügelhorn, 1990 a-sax / perc (crotales), t-sax, bar-sax 175 Seidl Hannes Es geht besser , fl, ob, tpt, perc 2011 Version 1

53 # Composer Last Composer First Title Instrumentati Year on 176 Shere, Hoyem Charles, Andrew Tongues : For poet, 1979 scenario for piccolo, for (English horn), poet speaking clarinet, in tongues, live bassoon, electronics, trumpet, horn taped sounds (), and chamber trombone, harp, orchestra piano, percussion, violin, viola, violoncello, double bass

177 Silva Igor C zap_ping_ trumpet, 2014 percussion, electronics and video 178 Smalley Roger Pulses brass, 1969 rev percussion and 1985-86 live electronics 179 Souster Tim Equalisation brass quintet 1980 and live- electronics 180 Stahmer Klaus Hinrich Quasi una vc, tpt, p, synt 1973 sonata 181 Steiger Rand template for solo trumpet, 2 2013 improvising flutes, oboe, trumpeter and clarinet, ensemble bassoon, horn, 2 percussion, piano, violin, cello, bass and electronics 182 Stockhausen Karlheinz trumpet, 1981 (Zodiac) Trio clarinet, flute Version and piccolo, piano 183 Stockhausen Karlheinz Taurus-Quintett trumpet, 1975 soprano, bass clarinet, bass 184 Stockhausen Karlheinz Halt (from trumpet, 1978 Michael’s double-bas Journey)

54 # Composer Last Composer First Title Instrumentati Year on 185 Stockhausen Karlheinz Kreuzigung trumpet, 1978 (Crucifixtion) bassethorn/ clarinet, basset horn II, two horns, two trombones, tuba, electric organ 186 Stockhausen Karlheinz Mission und trumpet, 1978 Humelfahrt bassethorn (Mission and Ascension) (from Michael’s Journey) 187 Stockhausen Karlheinz Solisten- trumpet, 9 co- 1984 Version players Michael’s Reise 188 Stockhausen Karlheinz Michael’s trumpet, tenor, 1979 Jugend soprano, bass, (Michael’s bassethorn, Youth) (Act 1 of trombone, Thursday from piano/elec. Light) organ, 3 dancer mimes, tapes with and instruments 189 Stockhausen Karlheinz Kindheit trumpet, tenor, 1979 (Childhood) soprano, bass, (scene of bassethorn, Michael’s trombone, Youth) dance, tapes 190 Stockhausen Karlheinz Examen trumpet, tenor, 1979 (Examination) dancer, piano, bassethorn 191 Stockhausen Karlheinz Michael’s trumpet, tenor, 1980 Heimkehr soprano, bass, (Michael’s bassethorn, Home Coming) trombone, dancers, tapes 192 Stockhausen Karlheinz Drachenkampf trumpet, 1980 (Dragon Fight) trombone, elec. (from Michael’s organ or Home-Coming) synthesizer, 2 dancers, percussionist

55 # Composer Last Composer First Title Instrumentati Year on 193 Stockhausen Karlheinz Argument tenor, bass, 1980 (from Michael’s elec. organ or Home-Coming) synthesizer, ad lib: trumpet, trombone, percussionist 194 Stockhausen Karlheinz Vision (scene trumpet, tenor, 1980 of Michael’s dancer, Home-coming) or sythesizer 195 Stockhausen Karlheinz DONNERSTA five trumpets or 1980 trumpet in 5 GS- track recording ABSCHIED (MI CHAELS- ABSCHIED) THURSDAY FAREWELL (M ICHAEL'S FAREWELL) variable 196 Stockhausen Karlheinz Linker trumpets, 1990 Backentanz trombones, (Left-Cheek- percussionist, Dance) synthesizer 197 Stockhausen Karlheinz Oberlippentanz piccolo 1983 (Protest) trumpet, (Upper-lip- trombone or dance) , 4 or 8 horns, two percussionist or solo for 198 Stockhausen Karlheinz Willkommen trumpets, 1988 (welcome) trombones, 2

56 # Composer Last Composer First Title Instrumentati Year on 199 Stockhausen Karlheinz Invasion - three trumpets, 1990 Explosion mit three Abschied trombones, 2 (Explosion with synthesizers Farewell) (Act with 2 2 of Tuesday assistants, two from Light) percussionists with two assistants, ad lib 6 tutti trumpets and 6 tutu trombones choir 200 Stockhausen Karlheinz Bassetsu-Trio trumpet, 1997 bassethorn, trombone 201 Stockhausen Karlheinz Trumpetent four trumpets 1995

202 Stockhausen Karlheinz Licht-Bilder trumpet with 2002 (Light-Pictures) ring- modulation, bassethorn, flute with ring- modulation 203 Stockhausen Karlheinz - 6th trumpet, bass Hour Schonheit clarinet, flute 204 Stockhausen Karlheinz Klang - 10th trumpet, 2007 Hour Glanz bassoon, viola, (brilliance) clarinet, oboe, trombone, tuba 205 Stockhausen Karlheinz Klang - 12th trumpet, cello, 2007 hour Erwachen soprano (awakening) saxophone 206 Strange Allen Velocity Studies 7 tpt 2007 V: Ngate 207 Suberg Andreas H.H. De’ crocifissi S, tpt, perc, elec 2001 venduti 208 Suberg Andreas H.H. Delle pelle II Counter-T, tpt, 2005 perc, elec 209 Suberg Andreas H.H. Delle scolture S, tpt, perc, elec 2001

210 Suberg Andreas H.H. gänzlich mezzo-soprano, 1986 aufzugehen… flute, clarinet, trumpet, trombone, percussion, electronic sounds

57 # Composer Last Composer First Title Instrumentati Year on 211 Suberg Andreas H.H. Il trittico della S, tpt, elec passione , Delle scolture – Stigmata – De’ crocifissi venduti 212 Suberg Andreas H.H. Signalstrom +- two trumpets 1999

213 Suberg Andreas H.H. TURM-Musik 8 Sp, tpt 2008/2009

214 Szabo Csaba Szonáta Brass Quintet 2005 rézfúvós ötösre és magnetofonra = Sonata for brass quintet and magnetophone 215 Tamminga Jorrit Knikkers piano, two 1998 trumpets, tape 216 Tamminga Jorrit Mikroket two trumpet 1998

217 Tanenbaum Elias Brass Quintet 1981 for brass quintet and tape 218 Tanenbaum Elias Structures for brass quintet 1966 Brass Quintet: International Festival of Contemporary Music, Zagreb, Yugoslavia 219 Usui Shiori Tuning into double-bell 2009 paranoia trumpet, bass clarinet, and live electronics 220 Valle Mendez Jorge Garcia del Waterdreams two trumpets, 2006 two trombones 221 Vandenbogaerde Fernand Im Anfang war alto, trumpet 1972 das Wort! 222 Vandenbogaerde Fernand Modifications IV trumpet, 1970 trombone, ring modulator and 2-track tape 223 Vandenbogaerde Fernand Quetzalcoatl two trumpets, 1987 horn, trombone, organ, percussion, tape

58 # Composer Last Composer First Title Instrumentati Year on 224 Vandenbogaerde Fernand Pentacle two trumpets, 1988 horn, trombone, tuba, 5 percussion, magnetic stripe, synth, electric bass, electronic percussion 225 Varèse Edgard Déserts 2 flutes, 2 1950 clarinets, 2 horns, 3 trumpets, 3 trombones, 2 , 5 percussion, piano, tape 226 Wells Sam Paul trumpet, two 2017 violins 227 Wells Sam The Leaf Has two trumpets 2016 Turned to Stone 228 Wells Sam Fallingwater trumpet, 2015 vibraphone, piano 229 Werner André …It wears, sir, hp, p, 2 tpt, sub- 1992 as it grows… db-fl

230 Wiemer Wolfgang Kontexturen S, B, tpt, perc, 1973 org 231 Winkler Gerhard E Dünungen flute, oboe, 1994 clarinet, sax, trumpet, pos. trombone, piano, marim, violin, viola, cello, bass 232 Winsor Phil Coronation : for four trumpets 1966 four amplified trumpets 233 Winsor Phil Anamorphoses br-ens (tpt-ens) 1990

234 Winther Terje Pre fl, cl, tpt, 2 perc, 1986 synt, va, vc

59 # Composer Last Composer First Title Instrumentati Year on 235 Winther Terje Respiral 2 cl, b-cl, tpt, hn, 1985 perc 236 Wøllo Erik Pre sense two piano, 1989 clarinet, trumpet, tape 237 Zapf Helmut Das Goldene fl, ob, cl, tpt, 2006 Kalb trbn, vn, va, 2 vc, db, 2 perc, S 238 Zapf Helmut evening song tpt, p, elec 2012

238 Zapf Helmut Klangfetzen str-qt, sax, tpt, 2012 e-gui, b-gui, perc 240 Zapf Helmut square vn, db, tpt, b-cl 1998

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