Matching Items (6)
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- All Subjects: Trumpet
- Creators: Rogers, Rodney
- Status: Published
Description
Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.
ContributorsFelice, Joseph Philip (Author) / Koonce, Frank (Thesis advisor) / Feisst, Sabine (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study examined attitudes and perspectives of classroom guitar students toward the reading of staff notation in music. The purpose of this qualitative research was to reveal these perceptions in the student's own words, and compare them to those of orchestra and band students of comparable experience. Forty-seven students from four suburban middle and high schools on the east coast were selected through purposeful sampling techniques. Research instruments included a Musical Background Questionnaire and a thirty-five question Student Survey. Follow-up interviews were conducted with students to clarify or expound upon collected data. Guitar, orchestra, and band teachers were interviewed in order to provide their perspectives on the issues discussed. The Student Survey featured a five-point Likert-type scale, which measured how much students agreed or disagreed with various statements pertaining to their feelings about music, note-reading, or their class at school. Collected data were coded and used to calculate mean scores, standard deviations, and percentages of students in agreement or disagreement with each statement. Interviews were audio recorded and transcribed into a word processing document for analysis. The study found that while a variety of perspectives exist within a typical guitar class, some students do not find note-reading to be necessary for the types of music they desire to learn. Other findings included a perceived lack of relevance toward the classical elements of the guitar programs in the schools, a lack of educational consistency between classroom curricula and private lesson objectives, and the general description of the struggle some guitarists experience with staff notation. Implications of the collected data were discussed, along with recommendations for better engaging these students.
ContributorsWard, Stephen Michael (Author) / Koonce, Frank (Thesis advisor) / Schmidt, Margaret (Thesis advisor) / Buck, Nancy (Committee member) / Rogers, Rodney (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
Every year hundreds of aspiring musicians audition for positions with professional orchestras throughout the United States. This study is designed to provide a comprehensive look at professional orchestral auditions for trumpet. While other resources rely on the single opinion of their author, this study gathers information from a broad range of sources to develop its conclusions. This project was completed in three phases. In the first phase, lists of excerpts from trumpet auditions were compiled. In the second phase, an online survey of musicians who have served on a trumpet audition committee was conducted. In the final phase, four principal trumpet players of major orchestras and one conductor were interviewed to look further into the criteria and procedures used in orchestral trumpet auditions. The results of this study can be grouped into four categories: the desired qualities sought in a trumpet audition, common mistakes and concerns for those taking auditions, common mistakes and concerns for audition committees, and a discussion of the top fifteen excerpts asked in auditions. The data from this study can be used to consider two different perspectives: what does an aspiring trumpet player need to do to win an audition? And also, what should a committee want to hear? Although there is a broad range of opinion when considering trumpet auditions, certain standards remain. Also, while most of those involved in this study agree that the audition process is among the fairest ways to determine the winner of a job with an orchestra, they also agree that significant changes to the process still need to be made. This is especially true with reference to the types of excerpts asked and the audition procedures used.
ContributorsHunsicker, John David (Author) / Hickman, David (Thesis advisor) / Hackbarth, Glenn (Committee member) / Hill, Gary (Committee member) / Pilafian, J. Samuel (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
Since 1913, some of the world’s finest trumpeters have utilized the advantages of
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
ContributorsEwing, Bryan Christopher (Author) / Hickman, David (Thesis advisor) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT:
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
ContributorsTsai, Shao-Chun (Author) / Hickman, David R. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given.
ContributorsAraya, Luis Miguel (Author) / Hickman, David R (Thesis advisor) / Pilafian, Samuel (Committee member) / Hill, Gary W. (Committee member) / Rogers, Rodney (Committee member) / Bailey, Wayne A (Committee member) / Arizona State University (Publisher)
Created2011