Question for the "educated" folk

Discussion in 'Trumpet Discussion' started by Bear, Feb 22, 2008.

  1. Bear

    Bear Forte User

    Apr 30, 2004
    Hello folks,
    The time of papers is quickly approaching. I am a graduate student pursuing a Master's degree. I have come up with several options of topics that I think would be most interesting. However, it seems as if I would not be able to substantiate the topics that I propose in a definite position. I am not a big academia person. The papers I have read for inspiration and guidelines have been technical, dry, and very boring. So, my question to you:

    If you would like to read a paper for pleasure that had something to do (or in relation) with the trumpet, what would you like to read about?

    Thank you for your inpt and time. I have pm'ed several people with questions such as this before and I thank them all for their responses. It is now time to open it to the public realm. Also, please be specific in your answers. For example, do not say "breathing" without including information on what you would like to know such as the uniqueness of each "method" out there but how they all pretty much say the same thing, or how the respatory muscles work, or... etc.

    Take care and Keep Blowin',
  2. screamingmorris

    screamingmorris Mezzo Forte User

    Apr 4, 2007
    It was in a circa 1980 interview for Charles Kuralt that Maynard Ferguson said that music is a *business* (something that many starry-eyed musicians tend to forget).
    If you don't know and take care of the *business* aspect of it, you won't be a successful musician for very long.

    The business side of music has changed.

    The big bands were huge in the 30's.

    The bands got singers in the 40's.

    The singers went solo in the '50's.

    The big bands mostly went out of business by the 60's.

    In the 1970's people like Maynard Ferguson had to re-invent themsleves to stay in business. He would gave been bankrupt (maybe he did) continuing to play the music of the 50's and 60's, so he came back in the 1970's with a LOUD style of arrangements that the kids of the early 70's loved.
    Bill Chase did the same thing.

    Such bands have become almost obsolete, surviving only as a niche for a small audience.

    But that niche consists of some of the best musicians ever to exist.
    At one time there were only a handful of trumpet players who could play Double C's and Triple C's, but now I have lost count of the number of extremely talented musicians who could do it.

    That same evolution of the music business applies to Symphony Orchestras that have had to reinvent themselves to stay in business:
    "Boston Pops" type appeals to the masses are all across the country now.
    In Louisville, Kentucky, the Orchestra couldn't get enough people into the big music house, so the Orchestra started scheduling concerts on the lawn at the city zoo, something that proved rather popular.

    - Morris
  3. Eeviac

    Eeviac Piano User

    Dunno what you're writing about, other than trumpet, but I'd like to volunteer that the reason why I'm playing this (and it's harder!) rather than clarinet, say, is that it's very direct. It feels more like directly whistling a tune, than something with a zillion keys on it, or a guitar where breathing doesn't go into it at all.

    There's a very direct link.
  4. Vulgano Brother

    Vulgano Brother Moderator Staff Member

    Mar 23, 2006
    Parts Unknown
    A geneology of method books would be nice. Who did Clarke study under? Stamp? Maggio? Claude Gordon? Mitchell? Herring? Schlossberg? etc.
  5. Pedal C

    Pedal C Mezzo Forte User

    Jan 24, 2005
    What's the paper for? Is it for a history class, trumpet teacher, etc...?

    How about taking a Baroque solo piece (Telemann or Purcell or something like that) and seeing how the dance forms of the various movements effect the tempo and phrasing (accents on which beats). Might be kind of cool. Some of those tunes really come alive when the dance "heritage" of the forms and accents come through. I'd read it.
  6. Jude

    Jude Piano User

    Dec 2, 2007
    Compare some of the methods used to teach trumpet and try to identify whether the same technique is being being used (say, for lip slurs) and simply described in different terms or whether if there are actual differences and some are more helpful at different stages (beginner, high-school age, pro) or for different jaw structures (over-, under-bite).

    For an example: on the Gordon video mentioned here a while ago a student is shown how to slur up by using tongue arch (I think) - you can see his jaw move (the idea is not to use the lip). On a Walter Vache video he emphasizes using only lip tension and specifically states the chin should not move. So: is there actually something else going on that both Gordon and Vache are doing and the movement of the jaw and the tension of the lip are both secondary and irrelevant? if the techniques are actually different, is one better than the other? under what circumstances? for whom?
  7. hagertheherald

    hagertheherald Pianissimo User

    Jan 26, 2008
    Cleveland Ohio
    How about the unique therapeutic benefits of releasing a primal scream on a regular basis? How would some people cope if they did not have this outlet? Why do some others need to hear it from other people? Does this serve some social need in the animal community going back to our primate days? What does the trend in Chris Botti/Rick Braun/other more Miles/Less Maynard-type players say about our need to release a primal scream once in a while? Will the pendulum swing back the other way given different social circumstances? Does it directly correlate with the level of social contentment or level of social protest and unrest? Well, it's 3am and I couldn't sleep, so I better not release any primal screams now. Good luck, and let us know what topic you settle on.
  8. godchaser

    godchaser Banned

    Jun 17, 2007

    The parallels and contrasts, in the lives of Street Performers and Night Club Artists.

  9. cornetguy

    cornetguy Mezzo Forte User

    Sep 12, 2005
    Saint Paul, MN
    I have been curious about the life, and career of Saint Jacome. I think that would be an interesting read to learn more about him.
  10. Brassmonkey

    Brassmonkey Pianissimo User

    Jan 6, 2007
    The approach of old cornet methods, (Arban, St. Jacome, etc.)compared to modern trumpet methods. Arban for instance went into great detail in some respects regarding technique and what should be done to improve it especially in repect to the type of excercises he wrote to accomplish this task. Do many of todays trumpet teachers use these techniques still? Is there a new school of thought? Do new trumpet methods simply re-hash old tried and true methods? Seems like each question leads to more when you really start to think about it.....

    Good luck!

Share This Page