The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Performative and Analytical Study, with a Catalogue Raisonné of the Extant Works Analytical Study: The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Study of Instrumental Techniques, Forms and Genres, with a Catalogue Raisonné of the Extant Corpus By Brandon Philip Jones ORCHID ID# 0000-0001-9083-9907 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy July 2018 Faculty of Fine Arts and Music The University of Melbourne ABSTRACT The Conservatoire de Paris concours were a consistent source of new literature for the trumpet and cornet from 1835 to 2000. Over this time, professors and composers added over 172 works to the repertoire. Students and professionals have performed many of these pieces, granting long-term popularity to a select group. However, the majority of these works are not well-known. The aim of this study is to provide students, teachers, and performers with a greater ability to access these works. This aim is supported in three ways: performances of under-recorded literature; an analysis of the instrumental techniques, forms and genres used in the corpus; and a catalogue raisonné of all extant contest works. The performative aspect of this project is contained in two compact discs of recordings, as well as a digital video of a live recital. Twenty-six works were recorded; seven are popular works in the genre, and the other nineteen are works that are previously unrecorded. The analytical aspect is in the written thesis; it uses the information obtained in the creation of the catalogue raisonné to provide an overview of the corpus in two vectors. The first vector is the forms and genres of the corpus, explored in chapter two. Each section includes an example of each type of work, as well as visuals showing when each type was most popular. The second vector is explored in chapter three, where selections of instrumental techniques employed within the contest works are explored. Each section includes musical examples of each technique, as well as the trends regarding the use of the technique over the entire corpus. The catalogue raisonné of all extant works is contained in Appendix I; it is a significant contribution to the body of research on trumpet literature with entries for each contest work, including summarised research on works that could not be located or definitively identified. ii DECLARATION I am aware of the University’s policy on plagiarism. This thesis comprises only my original work towards the PhD, and due acknowledgement has been made in the text to all other material used to comply with intellectual property and ownership practices. This thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Name and signature: Brandon Jones Date: July 2018 iii ACKNOWLEDGEMENTS There are many people who have assisted in the completion of this study, and I would not have arrived at this point without their effort, generosity, and support. I would like to extend a heartfelt thank you to the following: My performance supervisor and trumpet teacher, Dr. Joel Andrew Brennan, for his creative vision, expectation of excellence, and unwavering support throughout this project. My research and writing supervisor, Dr. Melanie Plesch, for her keen eye for detail, constant guidance on each phase of this project, and above all, her patience. Pianist Rhodri Clarke, for his exceptional skills as an accompanist. Audio engineers James Atkins and Oliver Powell, for ensuring a high-quality result in each recording session. My parents, Meredith and Charles, for their wise counsel and emotional support. The staff and my fellow students at the University of Melbourne for their constant encouragement and interest. The staff of the Bibliothèque Nationale de France - Département de la Musique, for kindly assisting me in gathering many of the works I catalogued. iv Table of Contents Table of Figures ....................................................................................................................... vii Table of Musical Examples ...................................................................................................... ix Introduction ................................................................................................................................ 1 Chapter 1 – Literature Review, Theory, and Methods ............................................................... 7 Introduction .................................................................................................................... 7 Literature Review........................................................................................................... 7 Theoretical Framework ................................................................................................ 15 Methodology ................................................................................................................ 34 Chapter 2 – Forms and Genres of the Corpus .......................................................................... 40 Introduction .................................................................................................................. 40 Works in Binary Form ................................................................................................. 40 Works in Ternary Form ............................................................................................... 42 Improvisatory-style Works .......................................................................................... 46 Concertinos .................................................................................................................. 5 2 Concertos ..................................................................................................................... 56 Works in Sonata Form ................................................................................................. 58 Suites ............................................................................................................................ 60 Variations ..................................................................................................................... 64 Through-Composed Works .......................................................................................... 69 Chapter 3 – Technical Features of the Corpus ......................................................................... 73 v Introduction .................................................................................................................. 73 Multiple-Tonguing ....................................................................................................... 73 Double-Tonguing ......................................................................................................... 74 Triple-Tonguing ........................................................................................................... 82 Pitch Range and Microtones ........................................................................................ 88 Ornamentation.............................................................................................................. 93 Extended Techniques ................................................................................................. 100 Use of Mutes .............................................................................................................. 108 Conclusion ............................................................................................................................. 118 Bibliography .......................................................................................................................... 122 Appendix I ............................................................................................................................. 128 Appendix II ............................................................................................................................ 348 Appendix III ........................................................................................................................... 388 vi Table of Figures Figure 1.1: Tremolo notation ................................................................................................... 29 Figure 1.2: Ornament notation ................................................................................................. 32 Figure 1.3: Photographs of mutes ............................................................................................ 34 Figure 1.4: Sample size per time period on graph ................................................................... 38 Figure 2.1: Percentage of contest works in binary form by decade ......................................... 41 Figure 2.2: Percentage of contest works in ternary form by decade ........................................ 43 Figure 2.3: Percentage of contest works that are improvisatory-style works by decade ......... 48 Figure 2.4: Percentage of contest works that are concertinos by decade ................................ 53 Figure 2.5: Percentage of contest works that are concertos by decade ................................... 57 Figure 2.6: Percentage of contest works in sonata form by decade ......................................... 59 Figure 2.7: Percentage of contest works that are suites by decade .......................................... 61 Figure 2.8: Percentage