Question for the "educated" folk

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

  1. Kevykev

    Kevykev Pianissimo User

    Sep 27, 2006
    St. Louis.
    How about the many different ways the trumpet has been used throughout history and how they have evolved over that time. You could start from Biblical times till current. That should give you plenty of paper to push!:wave:
  2. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Arban tried to establish the cornet as a solo instrument comparable to a flute, piano of violin. Back then the valves were still pretty new and the instrument considered "not especially musical". Through his pioneer work, the valved instrument has reached a prominent place - unfortunately except for England, in the form of a trumpet.
  3. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Maybe the development of an in-tune C-Trumpet? Bach really never succeeded, but Schilke did, then Yamaha and today many custom shops. There was also tons of leadpipes used to "solve" the problems, all with various success.
  4. Jimi Michiel

    Jimi Michiel Forte User

    Mar 22, 2005

    Here are some scholars you may find a little less technical and dry:

    Maynard Solomon - He's the guy who outed Schubert in his article "[SIZE=-1]Franz Schubert and the Peacocks of Benvenuto Cellini"

    [/SIZE][SIZE=-1]Nicolas Slonimsky - His book "A Lexicon of Musical Invective" is the funniest/geekiest thing I have ever read. He also poorly reviewed his own autobiography in the journal "Notes" (the journal for the Music Library Assosication) He is also a very solid researcher. Among other things, he edited Baker's Biographical Dictionary of Musicians. The introductions to those volumes are very entertaining. If you search JSTOR, you should be able to find articles by him.

    Richard Taruskin - The expert on Stravinsky, and all things Russian. He also literally wrote the book on music history (check out his 5 volume Oxford History of Western Music, it's hard core). He's got hundreds of articles out there. Haven't read them all, but the ones I have read are pretty good.

    Leon Botstein - This guy is a genious and a great writer. He wears a lot of hats (president of Bard College, conductor of American Symphony Orchestra, scholar), but when he finds time to put out articles, they are very, very good.

    This may or may not help, but I know where you're at. Much of academia is way too dry. These guys are all old school, and as much fun to read as reading scholarly articles can be.


    PS. Even if this doesn't help, everyone should really check out A Lexicon of Musical Invective. It's a great party book...
  5. francolinni

    francolinni New Friend

    Dec 14, 2007
    Hey Tim: Talk about putting a lasso on a lion!! Read all the post to this. Eeviac comes closest to what I would say. I mean, we, as musicians, live by our ears. They tell us immediately what we need to know,& I don't believe many of us older guys look to books for the answer. We just " take it from there" & do it over. You've got a great idea there,but to narrow it down to an interesting specific, I'd love to read why the sounds that I can coax out of my Martin,and those that I smooth out of my Opera, can be so different. I'm talkin in the words I use for the sound. Dark, whole, round notes,played the same (I think), on both horns,but yet different. I "know" how to do it,but the physics of air movement, vibration, & all the other variables escape me. Also, "Hey" Jude has a very interesting thought line going. Sometimes I "push" jaw,& sometimes I don't.Depends. Don't think about it,I just do it. Why? For technicals of this calibre......well that's why there is a Rowuk. Good Luck, Franco
  6. Bear

    Bear Forte User

    Apr 30, 2004
    Some very good ideas folks. I thank you. If there are any more, keep bringing them. To answer some questions that were posted to myself:
    The paper is part of the requirement for me to obtain my Master's degree. It is a "professional" that must be published with certain terms/conditions that it must meet. I cannot write about anything that already exists (like methods) unless I have a new angle on it. The whole "history" of the horn has been done way too much. I am trying to avoid that concept. There are several ideas on here that piqued my interest so I'll run a few of those through my committee and see where it lands. Thank you all very much. I will be in touch, lol.

    Keep Blowin',

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