This thesis presents a comprehensive study of the phenomenon of universalism
in trumpet performing arts. It examines the foundations of universalism in
contemporary trumpet performance practice, as well as its roots throughout the
history of performance. The study establishes that the factors contributing to the
formation of universalism are:
the acquisition of composing, conducting, and multi-instrumental skills
that contributed to the formation of the general features of a musician's
universality;
the modernisation of instrument construction and the ability of
trumpeters to perform music on various instruments, including natural
trumpets, slide trumpets; valve trumpets, invention trumpets, muted
trumpets, pump trumpets, quartertone trumpets, electronic trumpets,
prepared trumpets, flugelhorns, piccolos and others;
a comprehensive knowledge of specialised methodological treatises
covering instructions for playing various types of pipes and different
performance principles of trumpet schools: Italian: C. Bendinelli,
G. Fantini, G. Araldi; J. Foraboschi; French: M. Mersenne, H. Legram,A. Gobert, Fr. Dauverné, A. Brulon; German: M. Praetorius, D. Speer,
J. Altenburg; Austrian: J. Kunerth, A. Nemetz; English: J. Norton,
Th. Harper; American: E. Paudert, H. Clarke, H. James and others;
employing various performance techniques such as clarion; extended
techniques including micro chromatics and multiphonics; traditional and non-traditional performance techniques, duplication, improvisation,
articulation, timbre and intonation, academic and jazz techniques of
playing with mutes, etc., from the moment of their appearance and
introduction into performance trumpet practice;
improvement of trumpeters' versatile performance abilities through the
use of special equipment: phorbeias, primitive imitative instruments,
mutes, fixing mechanical devices, devices for measurement of the sound
power of the instrument, and the use of other types of trumpets for
training purposes, such as natural trumpets;
learning the specificities of jazz art and exploring new musical styles and
their various fusions;
performance experience of trumpeters in academic and pop-jazz music
bands,
the ability of trumpeters to adapt to different performance conditions and
play a diverse repertoire of styles.
The phenomenon of universality is considered as not only an extremely
important competence of a contemporary trumpeter in various professional, general
artistic performance practices but also as a necessary awareness of the fundamental
performing versatility, that forms a specialist's broad erudition and the versatility of
the profession.
Given the high level of development of trumpet performing art in the 21st
century, and the demand for orchestra trumpeter to participate in different styles of
ensembles, the thesis highlights the problem of narrow specialisation of specialists.
Actual ideas for its solution have been proposed to contribute to the acquisition of
universality, expansion of performing abilities, and professional education. This need
has been identified in connection with the modern requirements for trumpeters to
adapt to the performance conditions, not only ensemble or orchestral but also a solo
repertoire of different styles. With the evolution of jazz performing arts and the
parallel development of the academic direction during the 20th and 21st centuries, the
palette of different styles of repertoire has been significantly enriched, which has undoubtedly determined the unusually complex requirements for the work of trumpeters.
Through a study of renowned trumpet players, the author has identified
specialists who have mastered the academic and pop-jazz aspects of playing. They
have successfully combined the performance principles of these two contrasting
techniques in practice, demonstrating their unique ability to perform with
universality. Analysis of these artists' performing skills has revealed a list of critical
universal skills that are valuable for modern trumpeters.
For the first time, pop and jazz trumpet samples have been classified and
referred to as traditional performance techniques. This classification takes into
account the individual characteristics of their constructions and aims to help modern
trumpeters better understand the nature of their performance. Given the considerable
number of academic and jazz performance techniques and their different
interpretations worldwide, this classification will be a useful tool for trumpet players.
