Trumpet

Trumpet was originated from the eastern part of the world with evidence showing that trumpet was a part of culture of many ancient civilizations. In the past, trumpet was created from materials that could easily be found in the nature. The trumpet has been gradually developed in terms of its shape, characteristics and materials used to create.
It could also be seen that the culture of the trumpet has been brought to Europe at a time when Roman civilization was expanding their political power and empire. with respect to its role before pre-modern times, the trumpet was created mainly to expand the scope of communication, especially in military. That is to say, in ancient times, the trumpet is known as a sound amplification device rather than a musical instrument like today. Nevertheless, trumpet had also been used for other occasions, such as religious rituals, funerals, and festivities.

O acompanhamento musical das práticas esportivas é uma característica marcante dos jogos na Grécia antiga, seja nos treinamentos, seja nas competições. Este acompanhamento se dava com instrumentos de sopro, especificamente o aulos e a salpinx (trombeta). Amplamente representado na pintura dos vasos áticos de figuras negras e de figuras vermelhas (séc. VI-V a.C.), o acompanhamento das práticas atléticas com o aulos, sobretudo nas provas que integram o pentatlo, tem recebido maior atenção dos estudiosos. Nosso objetivo é abordar a presença da trombeta nos jogos, representada com menos frequência no registro iconográfico, porém informada pelas fontes literárias de diferentes períodos, sobretudo do período imperial (nomeadamente, Plutarco, Ateneu e Pólux). Analisaremos as seguintes situações: acompanhamento musical de corridas (a pé ou de quadriga), contribuindo para marcar o ritmo; celebrações de entrega de prêmios; função comunicativa, pela divulgação de anúncios por intermédio da emissão de sinais; competições para trombeteiros, relacionadas à constituição de um perfil social deste músico-atleta baseado na força muito acima da média. Esta força superlativa, misturada com costumes bizarros, faz do trombeteiro um tipo popular no mundo helenístico-romano.

The painted trumpets in the Kazanlak tomb: parallels with Tutankhamun's trumpets, instrumental and performance hypotheses https://thracians.net/en/explorers-en-gb/152-music/632-the-painted-trumpets-in-the-kazanlak-tomb-parallels-with-tutankhamun's-trumpets,-instru… 1/7 Ancient Thrace and Thracians Encyclopediа (/index.php/en/) BG (/bg/) EN (https://thracians.net/en/explorers-en-gb/152-music/632-the-painted-trumpets-in-the-kazanlak-tomb-parallels-with-tutankhamun%E2%80%99s-trumpets,-instrumental-and-performance-hypotheses)

ABSTRACT

Title: Research in Performance: Analysis of Five Trumpet Works
Author: Frederick A. Sienkiewicz
Research Area: Music
Guidance Committee Chair & Dept: Eric M. Berlin, Music
Guidance Committee Member & Dept: Nikki R. Stoia, Music

The academic tools provided by the undergraduate music curriculum here at the University of Massachusetts are  not mere academic exercises, separate from the practice of music-making, but an integral part of the process of preparing and performing. As part of preparing my Senior Recital, I chose to make an in-depth study to experience what this perspective on musical performance means to me as a performer.  For my recital and this exploration, I chose five of the central works of trumpet repertoire, "The Trumpet Shall Sound" (from Messiah) by G. F. Handel, Concerto for Trumpet in E-flat Major by Joseph Haydn, Legend by Georges Enesco, Sonata fur Trompete und Klavier by Paul Hindemith, and Variations on The Carnival of Venice by J. B. Arban.  In this paper, I discuss my own experience of the process of learning, studying, and performing each work, comment on the diverse tools I used to gain deeper insight, and present the applicable conclusions I've come to through my research and experience.  These conclusions, where appropriate, take the form of music-theoretic notes including harmonic, thematic, and formal analytic sketches, historical background, and/or a survey of available recordings. At every step of preparing this research, I was surprised at the new depth and interest, as both performer and listener, which I found through the richer understanding of the formal structures and historical context of each work.  It is now my conviction that this process of detailed and informed musical preparation is essential to my ability to be an effective performer and create great music.

Honors Project (499Y/P)

Westminster History Review 5. J.Barber and J.Sargent (eds.), (City of Westminster Archives Centre, London, 2007).
William Afflick was one of the 10th Hussars’ most decorated enlisted veterans of the Napoleonic Wars. He also happened to be black and born in St Kitts in the Caribbean. After service as a trumpeter in the Peninsular and Waterloo campaigns he settled with his family in Kensington, London, Middlesex. His son Charles was transported to Australia in the 1830s, and today there are hundreds, if not thousands of Australians, descended from Charles and his wife Ann, some of whom are not aware of William, their distinguished Afro-Caribbean ancestor.
A post-script containing additional research is also included.

Memorization is an important component in the education of many classical musicians, but it is infrequently addressed in pedagogical literature for trumpet players. Furthermore, the area of memorization has undergone very little systematic investigation in the pedagogy of trumpeters and others for whom notation is almost exclusively relied upon in formal education. This study employed qualitative instrumental case study methods in order to describe the teaching and learning of memorization in the studios at Boston University (BU) and University of California, Los Angeles (UCLA). These studios under the leadership of Terry Everson (BU) and Jens Lindemann (UCLA) were purposefully selected based upon the teachers’ reputations for performing from memory as well as their use of memorization within their teaching.

The scarcity of literature on memorization suggests that it may rarely be an intentional part of trumpet pedagogy, even while performing from memory has been and is currently practiced by some of the most elite trumpet soloists and chamber ensembles. In an effort to broaden the discussion surrounding memorization, the literature review presents a survey of various interrelated topics from the perspective of music educators, cognitive psychologists, and others. Existing literature demonstrates that emphasis is too often given to the retrieval of memory at the expense of the other two parts of the memorization process: encoding and storage. Framing this study, then, is an understanding of memorization as a process rather than simply an end goal of performance without music.

Following a preliminary questionnaire administered to student participants at each site, trumpet lessons were observed and interviews were conducted with the teachers and fifteen student participants. A description of the teaching and learning of memorization within the studios is presented in order to consider what might be gained through the inclusion of memorization and the challenges it presented for both students and teachers. The values, strategies, and practices of teachers passed on in the apprentice-like relationship of the studio and exchanged among students in a community of aspiring musicians are described.

The student participants at both sites exhibited a variety of inclinations and attitudes towards memorization, ranging from full embrace to a near complete aversion to the practice. Students at BU reported personal progress in memorization skills while memorization experiences were uneven for students at UCLA. Both teachers and students considered the relationship between anxiety and memorization as well as the role that the studio community may serve in developing such skills. The benefits, challenges, and methods of memorization are discussed, including Everson’s emphasis on aural and analytical strategies for memorization that evolve from a desire for students to know the entire piece, not just the trumpet part. Lindemann’s belief that performing from memory can be a tool for empowering students and effectively communicating with audiences is also described. Several areas of commonality and contrast between the teachers’ performing and teaching philosophies are discussed. Significantly, both teachers believed that memorization could be an important pedagogical tool for overcoming technical challenges, but only the students at BU were consistently required to memorize repertoire. Implications for teaching, practice, and performance are provided along with suggestions for future research.

Abstract: Research into the origin of the Western European Folk Music Scale has been inconsistent, varied, and mostly unsatisfying. This scale has many characteristics that seem inexplicable to researchers; some of these distinguishing traits are that the scale is “gapped,” tuned in a different manner than Pythagorean tuning or Equal Temperament, is somehow aligned with the ecclesiastical modes, is either pentatonic or hexatonic, is also missing half-steps when pentatonic, etc. The present paper suggests that the Natural Scale is the foundation of the Western European Folk Music Scale and solves all of the above-mentioned anomalies. If the assumption is made that the general music played by “the folk” is in fact “pastoral music;” that is, created by instruments employed by shepherds, then confusing variables are eliminated. Moreover, the dichotomy between “art” and “folk” music begins to have an understandable relationship based on a dichotomy of tuning systems that has not been suggested to date. This duality of tuning suggests a spectrum of transcendence of one tuning system over another over time. On one end of the time spectrum, there is the present day with a musical culture of Western Europe art music based on the equally tempered Diatonic Scale and few elements of the Natural Scale remaining. On the other end, perhaps 1,500 years ago, there was a musical culture that was primarily based on the Natural Scale with a few elements of the Diatonic Scale.

This is my PhD dissertation. The third chapter might be interesting since it shows that the natural scale was the primary scale used in European antiquity (the so-called Folk Music Scale). It combined with the early diatonic scale (stacking thirds on the diatonic scale that those instruments couldn’t play) to create our modern scale. The Highland bagpipe is an ossified hybrid between the two.

The fourth chapter might be of interest to composers because it explains the rhythm of languages (especially English) and also the pitch-patterning of the spoken word which is used as the basis of melody.

The link brings you to the University of Otago library which is open and non-private. So you have to force your web browser to continue to the site.

ABSTRACT:
The purpose of this study was to investigate through archival and musicological analysis the audio recordings of Fenian lays made in the middle of the last century. These recordings were made from informants who learned the material orally; they contain cultural elements that assist in comprehending the musical mechanics of Fenian lays at a time when their performance practices were being extirpated by foreign musical influences. These elements include Indo-European (IE) thematic material, poetics, language register, pitch structuring, rhythm, and vocal techniques. Audio recordings of Fenian lays from Ireland, Scotland, and Nova Scotia, Canada were analysed in terms of their linguistic-musical material. Results show that the rhythm of the lays did not display a repetitive musical metre but the more complex structure of speech. However, rhythmic patterns did alter with volume. Also, resonance tuning was apparent. Many characteristics associated with volume in lay recordings exist in declaimed speech as well; both may be seen to act as a bridge between speech and metered song. Lay poetry appeared to be syllabic, which is unusual for a stress-timed language; this reflects an Indo-European genesis that is supported by the presence of oral formulaic language. Both stress and accent shifted pitch by poetic line to match spoken characteristics. A high language register was present, which does not indicate composition by the intelligentsia for use at court, but rather a fear-induced protective linguistic device apparent in all social classes. Moreover, the addition of delineated pitch to spoken declamation may be seen as an attempt to further increase the communicative register. The pitch structure was seen to be anachronistic, matching the linear scales played by pastoral instruments, particularly that of wooden shepherd trumpets used since at least the beginning in the Early Neolithic Age.

Este trabalho teve por finalidade elaborar uma biografia e investigar a performance do trompetista Márcio Montarroyos no disco Stone Alliance gravado em 1977. Para tanto, foram transcritos quatro solos improvisados e posteriormente analisados de acordo com material bibliográfico proveniente dos estudos do jazz, no intuito de demonstrar a existência de elementos que explicitem de forma mais apropriada a relação de Montarroyos com a improvisação de cunho jazzístico. A escolha do disco Stone Alliance se justifica pela utilização de recursos tecnológicos na manipulação em tempo real do timbre do trompete, prática que abriu caminho para a exploração de novas sonoridades e possibilidades expressivas no instrumento no cenário nacional e, em especial, na música popular brasileira.

The main purpose of this research was to elaborate a biography and investigate the performance of the Brazilian trumpet player Márcio Montarroyos on his album Stone Alliance recorded in 1977. In order to achieve this goal, four improvised solos were transcribed and analyzed. The research looked for elements that could elucidate more properly the relation between Márcio Montarroyos improvised solos and the improvisation in jazz. The album was selected due to the manipulation of trumpet timbres in real time through technological devices. The use of technological devices brought new sonorities and increased the possibilities of musical expressions for the trumpet on the Brazilian popular music scene.

CHARACTERIZATION FROM SCIENTIFIC LITERATURE AND METHODOLOGIES OF ARNOLD JACOBS, PHILIP FARKAS AND DONALD REINHARDT FOR A PHYSIOLOGICAL PROPOSAL AND ANALYTICAL STUDY IN SUBJECTS.
In order to get deeper knowledge of trumpet mechanics, its factors and their prevalence for trumpet learning and teaching, I have made a bibliographic review of acoustics literature involving trumpet or brass instruments (to get scientific perspective), a bibliographic review of brass instruments methods, and their correlation. Then, taking into account the previous work, I make a physiologic proposal and test it with subject analysis, measuring air flow, air temperature, posture (SAPO) and spectrum analysis.

'A creative musician, as defined by Wadada Leo Smith, is someone whose musical presence is such that if you replace them in the ensemble, the music changes. Their unique "spiritual signature" (to use Andrew Cyrille's phrase) affects the music's unfolding, leaving an indelible sonic imprint. The corollary is that when such a replacement is made, the one who remains is also remade...'

Reflections for a 5-disc set of Smith's duets with Pheeroan AkLaff, Andrew Cyrille, Han Bennink, and Jack DeJohnette.

Byzantine arms and armour were researched by many historians. For this reason, Byzantine military history received a dominant position in medieval historiography that provoked the situation, where the military history of small nations (under Roman influences) was written from the Byzantine perspective.
So, our task is to change this conception and bring medieval Armenian military sphere to light. The idea is to analyse the relief on the door of Msho Arakelots monastery where four equestrians and one infantryman are depicted make comparisons with other Armenian, Byzantine and Muslim sources. Unfortunately, Armenian written sources are less important for us because they give only general information about weapons and armour without their detailed description.
In this relief spherical mace head and sword with sleeve cross-guard are presented which have many parallels with Byzantine archaeological and figurative sources. No less important is the depiction of the military trumpet because it is the first image of this object in Armenian art, which we can compare to pictures from Madrid Skylitzes (XII c.). In addition, the only defensive weapon, which is presented in this relief, is round shield with flower ornament. We have many depictions of round shields in Armenian miniatures and reliefs from X–XI c.
Moreover, this relief is one of the few where stirrups and chape of the scabbard are shown. It is important information because these pictures can be compared with other Byzantine archaeological sources to reconstruct their real look.
The conclusions are that the majority of Armenian weapons have similarities to the Byzantine one but no less important are Muslim influences which we have found in some examples. Located between two civilizations (Byzantine and Muslim), Armenians adopted the best examples of military sphere creating their own culture. Moreover, thanks to the comparative analysis we will prove the idea that medieval figurative sources is a good and more or less accurate source for studying medieval military history and our research will serve as evidence for this.

This chapter asks whether paratextual performative elements not usually materially appended to edited playbooks (what Gerard Genette (1997: 344) calls ‘epitexts’) are important to play, text, edition and/or meaning. It investigates the blasts of a trumpet that heralded a play’s ‘beginning’, and the prayer, music, clowning and announcement that followed a play’s
‘end’, questioning when a play actually started and stopped. By so doing, it complicates questions about how plays should be edited, while also asking what, ultimately, a ‘play’ is.

Music for trumpet has seen a great expansion over the past fifty years. The importance of this development to the trumpet and music world cannot be overstated. The purpose of this study is to explain the process of commissioning, collaborating, preparation, and performance of Fanfares for the Apocalypse by Ken Ueno. Fanfares for the Apocalypse, a concerto for trumpet and chamber ensemble was commissioned and premiered by the University of Miami’s Henry Mancini Institute at the Frost School of Music featuring Philippe Brunet as soloist. This essay will address the history of Fanfares for the Apocalypse including the process of commissioning, history of the composer, practice techniques and application of various extended trumpet techniques found in the concerto as well as a performance guide. It will also address the ways that this concerto is person specific in that it was composed with the specific skills and musical aura of the soloist in mind.

ÖZ
Bu çalışmanın konusunu hem liturji hem de seküler hayattaki törenlerde
kullanılan çalgılar şofar ve trompetin kullanıldığı yerlerin dinî tasvir sanatına yansımaları oluşturmuştur. Çalışma, birkaç alt başlık altında ele alınmıştır. Giriş bölümünde şofarın bir çalgı olarak nasıl ortaya çıktığı açıklanmıştır. Bu bağlamda, Kitab-ı Mukaddes’te adı sıkça geçen trompet de çalışma kapsamına alınmıştır. Trompet ve şofarın gerek çok tanrılı dönem ve gerekse Kitab-ı Mukaddes’te kullanıldığı yerler karşılaştırılmıştır. Diğer alt başlıklarda; şofarın etimolojisi ve ikonografik geçmişi irdelenmiştir. Etimolojik kökeni değerlendirilirken, şofar adının kökeninde, ikonografik etkenin de önemli olduğu noktası tespit edilmiştir.
Kitab-ı Mukaddes Yaratılış Kitabı 22. Bab’da İbrahim’in Denenmesi olayında
oğlu İshak’ı kurban etme emri ile sınanan İbrahim’e bir koç gönderilmiş ve bu koçun boynuzu şofarın hem etimolojik hem malzeme ve hem de ikonografik geçmişi konusunda önemli olmuştur. Akedah olarak bilinen bu olayın İbrani geleneklerinde önemli bir yeri vardır. Bu nedenle, Kitab-ı Mukaddes’te şofar ve trompetin kullanım yerleri amaçlarına göre sınıflandırılmıştır. Çalışma konusunun önemli bir diğer alt başlığında, şofar ve trompetin dinî tasvir sanatındaki yeri örnekler ile açıklanmıştır. Sonuç bölümünde ise şofar ve trompetin dinî tasvirlerdeki seçimleri ile ilgili olarak genel bir değerlendirme yapılmıştır.
Anahtar kelimeler: Şofar, Trompet, Bizans, Kitab-ı Mukaddes, Dinî Tasvir

Esta comunicação apresenta uma reflexão sobre os trompetes rituais dos índios Ticuna. Primeiramente, mostro como estes instrumentos são construídos e como são utilizados durante os rituais de iniciação feminina, as "Festas da Moça Nova". Passo então a uma consideração sobre a inserção destes trompetes no complexo das "flautas sagradas" sul-ameríndio, as mudanças com relação ao tabu destes instrumentos, a antiga associação destes últimos com o uso do rapé cawü e o pensamento Ticuna sobre o "sopro". Por fim, faço uma breve consideração sobre o mito fundador da origem da interdição sobre os trompetes e da origem da reclusão das moças que menstruaram pela primeira vez.

The last trump or trumpet to which the apostle Paul refers in his letters to the Thessalonians and Corinthians traces its origin to the ram's horm or Shofar that symbolized divine mercy as exemified in the binding of Isacc account in the Book of Genesis. Since then the trump or horn hs reached the most unlikely places including in the anthem of the Long Horn team in Austin Texas. As a rallying call or wake up call the last trump demands our attention, references to living or fictictious individuals apart.

The trumpet virtuoso Anton Weidinger played Johann Nepomuk Hummel's Trumpet Concerto in E Major for the first time at the imperial court in Vienna (not, as often claimed, at a residence of his future employer Prince Esterházy) on New Year's Day, 1804. After placing that performance within the context of New Year's Day celebrations at court, this article discusses Hummel's allusions to existing music, which exemplify his fondness for musical pastiche. In the opening Allegro con spirito Hummel came close to quoting from the first movement of Mozart's Haffner Symphony, K. 385. He transferred some of the melodic and textural features of the Andante of Mozart's Piano Concerto in C, K. 467 to own Andante.
    Hummel's concluding Rondò is puzzling in its structure. It begins conventionally enough with a galloping melody in the tonic followed by contrasting material. The main theme returns, as expected, followed by a second episode labeled "Minore." The trumpet's repeated Bs at mm. 154–55 seem to promise a return to E major and the galloping rondo theme; but contrary to the traditions of rondo form, we never hear the main theme again. Another theme in E major (m. 167) replaces it, dominating the rest of the movement. Hummel borrowed that theme from Luigi Cherubini's Les Deux Journées.
    First performed in Paris in 1800, Les Deux Journées reached Vienna just two years later. The Viennese adored this opera, which they could enjoy in two different German translations. The music that Hummel used in his Trumpet Concerto is a march from the finale of act 2, accompanying the voices of soldiers who anticipate the arrest of Count Armand: "Allons, marchons, en diligence! / Observons tous le plus profond silence! / Il est à nous! Il est à nous!" Cherubini presented the march in E major, and Hummel borrowed the key as well as the tune: his decision to write his Trumpet Concerto in the unusual key of E major must have been made in conjunction with his decision to quote Cherubini's melody. Hummel's soloist must have been aware of a peculiarity of Cherubini's opera: it has no trumpet parts. By quoting from Les Deux Journées in the Trumpet Concert, Hummel cleverly gave Weidinger an opportunity to take part in a performance of music from which he was otherwise excluded.
        For further discussion of the issues raised, see Rohan Stewart-Macdonald, "The Undiscovered Flight Paths of the "Musical Bee": New Light on Hummel's Musical Quotations," in Eighteenth-Century Music 3 (2006), 7–34; Edward Phillips, Mozartean Gesture and Rhetoric in Hummel's Concerto for Trumpet, DMA dissertation, University of North Texas, 2008; Edward H. Tarr's introduction to the facsimile edition of the Hummel Trumpet Concerto (Vuarmarens, 2012); Bryan Proksch's review of the facsimile edition; and Martin Skamletz, "... und gar nichts, wodurch sich der eigene schöpferische Geist des Komponisten beurkundete": Cherubini, Hummel, Konzerte, Opern, Quodlibets und Trompeten in Wien zu Beginn des 19. Jahrhunderts. Teil 1: Reminiszenzen und ein Zitat," Romantic Brass: Ein Blick zurück ins 19. Jahrhundert, Symposium 1, ed. Claudio Bacciagaluppi and Martin Skamletz (Schliengen, 2015), 40–58.

Modern aerophones permeated the rural musical traditions in the Slovakian-Moravian borderland in the last quarter of the 19th century. At that time, the boom of rural brass music bands began and clarinet and trumpet (as well as other brass instruments later-on) became stable parts of string and cimbalom music bands. After the World War I., the brass instruments formed music bands with 2 – 4 members and an accordion. This happened mainly on the Slovakian side of the borders; the music bands became
part of “jazzes” – groups representing the rural form of town dance orchestras; the rural bands also included saxophone. From the perspective of the style of play, common regional earmarks can be found – despite individual peculiarities – in variations and mutual coordination of melodic voices. The clarinet players featured figurations that seemed to be deciding to create an own style; the trumpet players rather used time-proven melodic patterns for their variable heterophony. The play of melodic musical instruments in brass music bands is typical for its moderation in variants; peculiar is the deformation of several rhythmic patterns (the Trenčín area). From the perspective of polyphony, heterophony and tierce-parallelism dominate; the advanced style of playing the clarinets (the ethnographic area of Horňácko) features figurative contra-voice.

El presente artículo realiza un estudio analítico de las Piezas Andaluzas para trompeta y piano de Santiago José Báez Cervantes (1982). La obra, compuesta en 2007, y ganadora del Primer Concurso de Composición de la Asociación de Trompetistas de Andalucía “Alnafir” está siendo estudiada en varios conservatorios superiores de Andalucía por los alumnos de la especialidad de Trompeta. Además, cada vez es programada con mayor asiduidad de mano de grandes concertistas de este instrumento. En este artículo nos acercamos a la figura de su compositor, pero, sobre todo, nos adentramos en el análisis de esta obra, la cual se encuentra poco estudiada desde el punto de vista analítico.

The tuning of specific notes on wind instruments is problematic. This document looks the at basic tendencies of individual instrument tuning. It offers directors and individual students suggestions and insights. This includes a quantitative system for individuals to log their personal instrument's tuning, learn it's tendencies, and gives them insights on how to play more in tune throughout the range of their instrument.

In the 21st century, the performance practice in New Music
Theatre has heavily diversified; little has been written,
however, from the perspective of the actor-musician.
This article focuses on the development of Silencio, a
co-created New Music Theatre piece for trumpeter-actor.
It charts the artistic processes that occur between the
instrumentalist-actor and the composer and establishes
a theoretical framework for the development of creative
processes in multidisciplinary co-creations.
.

Рисуваните тромпети в Казанлъшката гробница: паралели с тромпетите на Тутанкамон, инструментални и изпълнителски хи… https://thracians.net/religion-bg-bg/52-музика/630-рисуваните-тромпети-в-казанлъшката-гробница-паралели-с-тромпетите-на-тутанкамон,-и… 1/8 Енциклопедия Древна Тракия и Траките (/index.php/bg/) BG (https://thracians.net/religion-bg-bg/52-%D0%BC%D1%83%D0% %D1%80%D0%B8%D1%81%D1%83%D0%B2%D0%B0% %D1%82%D1%80%D0%BE%D0%BC%D0%BF% %D0%BA%D0%B0%D0%B7%D0%B0%D0%BD%D0%BB%D1%8A%D1%88% %D0%B3%D1%80%D0%BE%D0%B1% %D0%BF%D0%B0%D1%80%D0%B0%D0%BB% %D1%82%D1%80%D0%BE%D0%BC%D0%BF%D0%B5%D1%82%D0%B8% %D1%82%D1%83%D1%82%D0%B0%D0%BD%D0%BA% %D0%B8%D0%BD%D1%81%D1%82%D1%80%D1%83%D0%BC%D0%B5%D0%BD%D1%82% %D0%B8%D0%B7%D0%BF%D1%8A%D0%BB%D0%BD%D0%B8%D1%82%D0%B5% %D1%85%D0%B8%D0%BF%D0%BE EN (/en/)   / Религиозност (/religion-bg-bg) / Музика (/religion-bg-bg/52-музика) / Рисуваните тромпети в Казанлъшката гробница: паралели с тромпетите на Тутанкамон, инструментални и изпълнителски хипотези В Казанлъшката гробница (края на 4. в. пр. н. е., паметник на световното културно наследство на ЮНЕСКО; Венедиков, Герасимов 1973: 70-71, 73-75) на фреските в купола, представящи погребалния ритуал на владетеля, е изобразена двойка музикантки (Сн. 1 (/gallery-bg-bg/view-photo/12/48)). Двете свирят на инструмент с коничен отвор, докато сочат надолу с лява ръка. Жестът евентуално може да означава, че си дават една на друга указания за изпълнение. Въз основа на пропорциите преценявам, че инструментите са относително дълги, поне колкото дължината на ръката на възрастен човек (~ 60 см). Стенописът в Казанлъшката гробница не намеква от какъв материал са изработени инструментите. Ако са направени от метали или сплави, те биха съответствали на определението за тромпет. Дори ако са направени от дърво, те биха могли да се определят като тромпети, защото термини като "овчарска тръба" описват някои лабиални дървени инструменти, където изпълнителите духат в по-тесния от двата края (Hirt 2014: 5). Рисуваните тромпети в Казанлъшката гробница: паралели с тромпетите на Тутанкамон, инструментални и изпълнителски хипотези амон,-инструментални-и-изпълнителски-хипотези?tmpl=component&print=1&layout=default) Издател: Институт за балканистика с Център по тракология към Българската академия на Науките България, 2020 г. ISSN 2683-0590 https://thracians.net/religion-bg-bg/52-музика/630-рисуваните-тромпети-в-казанлъшката-гробница-паралели-с-тромпетите-на-тутанкамон,-инструментални-и-изпълнителски-хипотези

Resumo: Neste presente artigo, apresenta-se um estudo sobre a função específica do lead trumpet 1 da Banda Mantiqueira, big band conhecida por fazer a fusão da música brasileira com o jazz norte-americano de maneira ímpar. Tal característica pode ser atribuída, principalmente, à maneira pela qual os arranjos foram concebidos por seu líder, Nailor Azevedo "Proveta". Com o objetivo de melhor compreender os pormenores dessa atividade musical ainda pouco documentada na literatura acadêmica no Brasil, busca-se apresentar um panorama musical acerca do ponto de vista de dois músicos do grupo; o primeiro trompete titular, Nahor Gomes e do arranjador e líder da Banda Mantiqueira, Nailor Azevedo "Proveta". Espera-se que este trabalho possa contribuir para o desenvolvimento do músico, em especial o trompetista que queira se aprofundar ainda mais no estudo das particularidades performáticas do lead trumpet de uma big band. Também se traz ao meio acadêmico informações que muitas vezes são encontradas somente de maneira informal no meio musical. Palavras chaves: Trompete. Orquestras de jazz. Música-execução. Bandas (Música). Abstract: This paper presents a study on the specific function of the lead trumpet of the Banda Mantiqueira, a big band known for make the fusion of Brazilian music with American jazz in a unique way. This feature can be attributed mainly to the way in which the arrangements were conceived by their leader, Nailor Azevedo "Proveta". In order to better understand the details of this musical activity still poorly documented in the academic literature in Brazil, we seek to present a musical panorama about the point of view of two musicians of the group; the lead trumpet, Nahor Gomes and the arranger and leader of the Mantiqueira Band, Nailor Azevedo "Proveta". It is hoped that this work can contribute to the development of the trumpeter who wants to delve further into the study of the lead trumpet performance particularities of a big band. It also brings to the academic environment information that is found only informally in the musical scene.