Brass Quintet Research Articles

Metacognition in musical practices: two studies with beginner and expert Brazilian musicians.

Metacognition is essential in the musical learning process as it involves understanding the purpose of each task, its planning, execution and evaluation. Considering the relevance of metacognitive processes, our objective in this study was to investigate how expert and beginner musicians manifest and verbalize their metacognitive processes in the context of preparing repertoire for a performance. The method used was a multi-case study carried out in two different contexts: with the five members of a brass quintet made up of professional musicians and with three beginner university violin students. The results obtained indicated that even at different levels of expertise, metacognitive processes were present in the musical practices of participants in the two contexts investigated. It was found that in both cases time management is a component of the preparation process in metacognitive regulation, however, for the beginner violinists in our sample it was a significantly more complex task than for the professional brass players. Regarding the learning monitoring and evaluation processes, it was possible to verify that beginner instrumentalists as well as professional musicians used declarative, conditional and procedural knowledge to carry out and reflect on their musical practices. These results have implications for both the individual and collective study process and for teaching processes. It is also observed that reflective thinking must accompany the processes of individual and collective interpretative-musical practices, considering that the musical results desired by musicians are related to the quality of cognitive, behavioral, affective and motivational undertakings pertinent to control and regulation of metacognitive processes.

Approaches to Analysis of the Piano Works byIannis Xenakis

Different approaches to the analysis of Iannis Xenakis’ music have been studied by the example of his work Eonta (1963– 1964) for piano and brass quintet, First Concert for piano and symphonic orchestra Synaphaï (1969) and Second Concert for piano and symphonic orchestra Erikhthon (1974). An alternative method ofstudying Xenakis’ works based on the analysis of the experience of decoding computer programs typical for composer’s works studying has been proposed. An important feature of the investigation is an application of psychological analysis in studies of mythological plots of works, linked with the ancient Greek titles of the works by I. Xenakis along with comparative, phenomenological historical, musical analysis and statement of the computer programs’ use. As the result of alternative method of analysis, for the first time in musicology, new, tragic aspects of I. Xenakis’ personality, reflected in his works, were revealed. The phenomenon identified by M. Heidegger as “throwing into being” is presented in Xenakis’ work, in a form of mythology; the archetype being reflected in the music composition through the dramatic collision of the relationship between the soloist and the orchestra. Established conceptual link between the music of the composer and the philosophy of M. Heidegger gives a new viewpoint on the work of Xenakis

A Storm in the Land: Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80608-2, 2002./Cheer, Boys, Cheer! Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80652-2, 2006.

A Storm in the Land: Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80608-2, 2002./Cheer, Boys, Cheer! Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80652-2, 2006. - Volume 8 Issue 2

Invenzione Concertata for Brass Quintet, and: Keep On Keepin' On [for] Brass Quintet, and: Fanfare for Brass Quintet, and: Entertainment-Sets (Chamber Music X) for Brass Quintet, and: Hymn for Brass: pour quintette de cuivres, and: Fanfare for 2 Trumpets, 2 Horns, and Trombone (review)

MUSIC FOR BRASS INSTRUMENTS Henri Lazarof. Invenzione Concertata for Brass Quintet [1997]. Bryn Mawr, PA: Merion Music; Theodore Presser Co., sole representative, c1997. [Score (in C), 8 p.; notes on composer, back cover verso; and 5 parts. Pub. no. 144-40300. Duration, ca. 8.5 min. $15.] Tansy Davies. Keep On Keepin' On [for] Brass Quintet. London: Broadbent & Dunn (Theodore Presser), c1995. [Score, p. 1-8; and 5 parts. Pub. no. BD sole agent: European American Music Distributors Corp., c1997. [Score, 4 p.; and 5 parts. Pub. no. EA 811. $14.95.] Robert Suderburg. Entertainment-Sets (Chamber Music X) for Brass Quintet. [King of Prussia, PA]: Theodore Presser Co., c2000. [Score, p. 3-27; and 5 parts. Pub. no. 114-40650. Duration, ca. 17.5 min. $35.] Jean Baily. Hymn for Brass: pour quintette de cuivres. (Ensembles de cuivres.) Paris: Gerard Billaudot Editeur (Theodore Presser), c1994. [Score, 13 p.; and 7 parts. Pub. no. G 5647 B. Duration, 12 min. $29.50.] Shulamit Ran. Fanfare for 2 Trumpets, 2 Horns, and Trombone; arranged by Cliff Colnot. Bryn Mawr, PA: Theodore Presser Co., c1994. [Score (in C), p. 1-4; notes on composer, back cover verso; and 5 parts. Pub. no. 114-40627. Duration, ca. 4 min. $15.] The modern brass quintet (two trumpets, horn, trombone, and tuba/bass trombone) rose to prominence only in the mid-twentieth century, largely driven by the infectious energy and effort of a few influential brass players. The effort that finally established the brass quintet as a mainstream ensemble, however, was just one of a series of attempts to raise the profile of brass chamber music. As early as the late nineteenth century, cornet player, conductor, composer, instrument designer, and pedagogue Jean-Baptiste Arban (1825-1889), best known today for his universally used treatise Methode complete de comet a pistons et de saxhorn (Paris, 1864; various editions and translations, including, in English, Arban's Complete Conservatory Method, ed. Edwin Franko Goldman and Richard M. Smith [New York: Carl Fischer, 1936]), encouraged Victor Ewald (1860-1935) to write four brass quintets (the first composed around 1890) that form the early staples of the brass quintet repertoire. But Ewald's quintets did not herald a movement toward brass quintet writing. For most early brass chamber music, the quartet (two trumpets, horn, trombone; or two trumpets and two trombones) was the vehicle of choice; when it was supplanted in the 1930s, it was not by the quintet but rather by the sextet of two trumpets, horn, trombone, baritone (euphonium), and tuba. It was not until modern orchestral brass sections became standardized in the mid-twentieth century, with the euphonium falling out of favor (despite its effectiveness in works like Maurice Ravel's 1922 orchestration of Musorgsky's Pictures at an Exhibition and Dmitri Shostakovich's The Golden Age of 1930, and its continuing prominence in band music), that conditions were ripe for the quintet's ascendancy. Much of the credit for this rise goes to the tireless efforts of the New York Brass Quintet and the American Brass Quintet. The New York Brass Quintet, founded by Robert Nagel with the assistance of Harvey Philips, was formed with the promise of work from Young Audiences, Inc., an organization dedicated to performing for school children. During its formative years between 1954 and 1961, the quintet had two primary goals: to develop an audience for brass quintet music, and to increase the available repertoire. Thanks partly to the outreach work with Young Audiences, the quintet was immensely successful in both enterprises; by 1960 the group had an active touring schedule throughout the United States and Europe, and the ensemble made its official New York City debut in 1961. This period of touring activity coincided with a surge in brass quintet composition by prominent composers like Malcolm Arnold (b. …

Subjective and objective evaluations for solo and chamber music performances

Stage acoustics were evaluated in six halls regarding solos (piano, harp, and violin) and chamber music (piano sonata, piano trio, and brass quintet). In each hall professional musicians were seated at two locations: with and without detached side reflectors. The performers expressed their opinions about hearing oneself, hearing others, ease of ensemble, and overall impression. Subjects in the audience were asked about the strength of individual parts and overall impression. A factor analysis yielded four groups among the musicians. Regarding overall impression string players favored the environments with side reflectors. An early-to-direct energy ratio (ED100) was more important than early support (STearly) and late support (STlate) subjectively. The optimum value of ED100 was V11 dB. The overall impression evaluated by the musicians was poorly correlated with the balance of individual parts evaluated by the audiences, indicating that there were orthogonal factors for designing the stage for solo and chamber music performances. [Work supported by the National Science Council of Taiwan.]

Subjective assessment of stage environments for chamber music

Stage acoustics were evaluated in four halls regarding chamber music performances. Sensations about hearing oneself, hearing others, ease of ensemble, and overall impression were expressed by players of violin and piano sonata, piano trio, and brass quintet. Evaluations were taken at two locations with and without detached reflectors in each hall. Subjects in the audience were asked about the balance among players. In additional to the well-accepted support factor (ST1), calculated measures included a similar parameter early-to-direct energy ratio (ED80), where the energy integrated from 20 to 100 ms was substituted by the energy from 7 to 80 ms since recital halls were normally smaller than symphony halls. As a result, most acoustical environments were acceptable to the players. Overall impression was significantly correlated with all of the subjective attributes and there was a strong relation between hearing others and ease of ensemble (r=0.921). The players of brass quintet favored higher ED80 values than did the others. For the audience, significant variances of perceived strength were found in cello for piano trio and in horn for brass quintet. On-going research is conducted to collect data in other halls. [Work supported by the National Science Council of Taiwan.]

American Brass Quintet: Works by William Bolcom, Jacob Druckman, Ralph Shapey, Maurice Wright

American Brass Quintet: Works by William Bolcom, Jacob Druckman, Ralph Shapey, Maurice Wright

Elliott Carter: collected essays and lectures, 1937-1995

Part 1 Surveying compositional scene: composer's viewpoint (1946) a further step (1958) challenge of new (1960-62/94) fallacy of mechanistic approach (1946) musique serielle aujourd'hui (1964/94) ISCM Festival, Rome (1959) Rasputin's End and Lady Macbeth of Mtsensk (1960) letter from Europe (1963) ISCM Festival, Amsterdam (1963/94). Part 2 music: once again swing - also American music (1939) music in New York scene (1940) agony of modern music in America, 1955 (1955/94) rhythmic basis of music (1955) European roots of musical culture (1961/94) Expressionism and music (1965/72) the composer is a university commodity (1970). Part 3 Charles Ives: case of Mr Ives (1939) Ives today - his vision and challenge (1944) an destiny (1946) Charles Ives remembered (1974) documents of a friendship with Ives (1975). Part 4 Some other composers: Gabriel Faure (1945) three late sonatas of Debussy (1959/94) figure, with landscape - Henry F. Gilbert (1943) Stravinsky in 1940 Igor Stravinsky - two tributes (1971) on Edgard Varese (1975/79) Edward Steuermann (1966) Walter Piston (1946) Roger Sessions - violin concerto (1959) in memoriam - Roger Sessions, 1896-1985 (1985/95) in memoriam - Stefan Wolpe, 1902-1972 (1972) two essays on Goffredo Petrassi (1960, 1986) to think of Milton Babbitt (1976) for Pierre Boulez on his 60th (1985). Part 5 Life and work: to be a composer in America (1953/94) composer's choices (circa 1960) shop talk by an composer (1960) time dimension in music (1965) two sonatas, 1948 and 1952 (1969) string quartets No 1, 1951, and No 2, 1959 (1970) orchestral composer's point of view (1970) on Saint-John Perse and concerto for orchestra (1974/94) brass quintet (1974) double concerto, 1961, and duo, 1974 (1975) music and time screen (1976) elle est la musique en personne - a reminiscence of Nadia Boulanger (circa 1985/95) reminiscence of Italy (1988). Part 6 Philosophy, criticism and other arts: more about Balanchine (1937) with dancers (1938) remembering Balanchine (1991/95) theatre and films (1943) genial sage - Paul Rosenfeld (1948) introduction to a poetry reading by W.H. Auden (1969) music as a liberal art (1944) time lecture (1965/94) Gesamtkunstwerk (1966/94) Soviet music (1967/94) music criticism (1972). Appendices: notes on sources published writings by Carter not included in this collection.

Adaptable acoustical shells incorporating modular reflective, absorptive, and diffusive surfaces

The optimum percentage and orientation of reflecting and diffusing surfaces in an acoustical shell was determined from objective and subjective measurements using conservatory students at the Cleveland Institute of Music comprising two string quartets, a brass quintet, and a horn duo. Objective impulse measurements were made with balloon bursts and five different microphone systems were used to obtain simultaneous DAT recordings. The Head Acoustics mannequin was placed within the group to determine ensemble blend without self‐masking. Etymotic Research probe microphones were inserted into the ear canals of musicians to determine ensemble blend with self‐masking, headband microphones were used to monitor ensemble blend with self‐masking, an omnidirectional microphone was placed within the group as a monophonic control, and spaced omnidirectional microphones were placed in the front of the house to measure the projected sound quality. Analysis of these and other data led to the development of a variable acoustics modular performance shell utilizing reflecting, absorbing, and/or diffusing modules, which allows both variability and flexibility for different stage uses as well as sectional and personal acoustic environments for the performers. This approach was subjectively evaluated with the full Baltimore Symphony Orchestra with David Zinman conducting.

Brass Quintet [for] Two Trumpets in C, Horn in F, Trombone and Tuba

Brass Quintet [for] Two Trumpets in C, Horn in F, Trombone and Tuba

A Book of Fanfares for Brass Quintet

A Book of Fanfares for Brass Quintet

Chapter I: Inaugural Ceremony

The Inaugural Ceremony was held at the Convention Center, Baltimore, in the presence of distinguished representatives from the Government of the United States, the State of Maryland, the City of Baltimore, the Johns Hopkins University, the National Aeronautics & Space Administration, the and the US National Committee for the IAU.The chair was taken by Dr. A. Davidsen, co-Chairman of the Local Organizing Committee, from the Johns Hopkins University.A rousing aubade, specially composed for the occasion by Elam Ray Sprenkle, was beautifully performed by the Annapolis Brass Quintet under the direction of David Cren.

Suite from Nicholas Nickleby; For Brass Quintet

Suite from Nicholas Nickleby; For Brass Quintet

REVIEWS OF MUSIC

Journal Article REVIEWS OF MUSIC Get access Hoddinott, Alun, Ancestor Worship, for baritone and piano; Landscapes. Study Score; Ritornelli 2, for brass quintet. Miniature score; Sonata for organ, Op. 96 No 2; What the Old Man Does is Always Right: children's opera in one act. Vocal score. ( Oxford University Press, 1979, the remainder 1980, £3.95, £12.50, £4.95, £3.75, £12.50.) TREVOR BRAY TREVOR BRAY Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 62, Issue 2, April 1981, Pages 238–239, https://doi.org/10.1093/ml/62.2.238 Published: 01 April 1981

The Brass Quintet Is an Educator's Horn of Plenty

The Brass Quintet Is an Educator's Horn of Plenty

REVIEWS OF MUSIC

Journal Article REVIEWS OF MUSIC Get access Carter Elliott, A Mirror on which to Dwell: six poems of Elizabeth Bishop, for soprano and chamber orchestra. Score; A Fantasy about Purcell's ‘Fantasia upon One Note’, for brass quintet. Score and parts. ( Associated Music Publishers, New York & London, 1977, £24.10, £4.55) [Schirmer] ARNOLD WHITTALL ARNOLD WHITTALL Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 61, Issue 2, April 1980, Pages 230–231, https://doi.org/10.1093/ml/61.2.230 Published: 01 April 1980

Carter in the Seventies

In the last ten years Elliott Carter has completed as many works as he had in the previous two decades combined. The increased rate of composition—A Symphony of Three Orchestras was written in six months—has been matched by even greater formal and poetic daring. Indeed the works from the Third Quartet onward are so adventurous in conception that there is little in the way of traditional musical terminology that can be used to describe their forms, harmonies, or even, as in the case of the most recent work, Syringa, their genre. And while Carter's continued exploration of abstract discourse in the Third Quartet, Duo and Brass Quintet was to be expected, the preoccupation with the voice and poetic subjects in the next three works seemed, at first, a surprising development. Carter turned to song composition in 1975 with A Mirror on Which to Dwell, a cycle of six poems by Elizabeth Bishop dedicated to the artists who gave its first performance 24 February, 1976: Susan Davenny Wyner, soprano, and Speculum Musicae. By the end of 1976 he completed A Symphony of Three Orchestras, a purely instrumental work stemming from the various projects for a choral setting of Hart Crane's ‘The Bridge’ that Carter had planned since the 1930's. A Symphony was premièred by Pierre Boulez and the New York Philharmonic, to whom it is dedicated, on 17 February 1977. On 10 December last, the eve of Carter's 70th birthday, Syringa was given its première by Jan de Gaetani (mezzo-soprano), Thomas Paul (bass) and Speculum Musicae, conducted by Harvey Sollberger. Dedicated to Sir William and Lady Glock, this work superimposes John Ashbery's retelling of the Orpheus legend, ‘Syringa’, sung by the mezzo, upon fragments of classical Greek texts sung by the bass. It might be termed a polytextual motet, a cantata, a chamber opera, or a vocal double concerto.

BRASS ENSEMBLE

BRASS ENSEMBLE Get access Pierre Hasquenoph, Divertissement, for ten instruments and percussion. Miniature score. ( Doblinger, Vienna & Munich, 1974, £2.20.) Robert Muczynski, Voyage, Op. 27, seven pieces for trumpet, horn and trombone. Score and parts. ( Schirmer, New York & London, 1970, £1.85.) Claire Polin, Cader Idris, landscape for brass quintet. Score and parts. ( Schirmer, New York & London, 1971, £1.85.) Robert Washburn, Quintet. Score and parts. ( Oxford University Press, New York, £8.00.) DAVID GREER DAVID GREER Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LV, Issue 4, October 1974, Pages 497-a–497, https://doi.org/10.1093/ml/LV.4.497-a Published: 01 October 1974

Mosaics, for Brass Quintet

Mosaics, for Brass Quintet

Streets of Laredo, Op. 60. Theme and Variations for Brass Quintet

Streets of Laredo, Op. 60. Theme and Variations for Brass Quintet