Abstract This paper explains that Louis Armstrong started his career by blowing on a little tin horn, the kind with which people celebrate; he could mimic some of the music he heard around his home and the kids loved the sound of the little horn. The author points out that Armstrong, who lived in an area where he heard street musicians and steamboat bands, developed a perfect pitch and began teaching himself music. The paper relates that, in his teen years, having shot a borrowed pistol into the air, he got arrested and was sent to the city's Waif Home for Boys where he came under the very capable tutorship of Peter Davis, a brass band leader, who taught him how to play the cornet. Picture.
From the Paper "As an infant, his grandmother Josephine Armstrong raised Louis because his father abandoned him and his mother around the time of birth. He began his life struggling in the slums of New Orleans. He grew up in a bad area know as "The Battlefield" were gun and knife fights were not uncommon. At the age of seven he moved back with his mother and sister in Stormville where he worked for Jewish families for money. Now Stormville consisted of dance halls, brothels and honky tonks, it was an entertainment district where music was all around him, so he could hear music from outside his house when he woke up in the morning and when he went to bed at night."
Abstract This paper discusses the life and works of Maynard Ferguson, considered to be one of the most influential trumpeters and bandleaders of his time. It gives an insight to the trumpet itself as an instrument and a brief history of jazz bands. It examines his early childhood, career, accomplishments and contributions to Jazz as well as his style and influence. Through his innovational trumpet style, his ability to commercialize and sell jazz and his teaching and involvement with today's youth, we have enjoyed over six decades of his life. The paper also includes pictures and a discography of music.
From the Paper "Another of the major influences in the way that Maynard plays is William "Cat" Anderson (1916-1981). Anderson, with a range of over five octaves, was a predominant trumpet player for Duke Ellington from 1944 through 1971. There have been many influences in Maynard's life; another on the long list is Roy Elridge. Roy Elridge was one of the first to successfully play in the high register range. Dizzy Gillespie was so impressed by Elridge's style that he created his style copying that of Elridge. (1)"
Tags: jazz, cornet, louis, armstrong, piano, violin, music
Abstract This paper explains that the tuba is the descendant of the serpent, a much older and now obsolete form of the tuba created sometime around 1590s; it is also related to the old cornet and the ophicleide.The author points out that the modern tuba came into being largely because of the piston valve in early 1800s, but it took some time to design a small piston valve, which could be fitted in a bore instrument. The paper relates that tubas are available in different sizes, which determine their pitches and, thus, their functions; for example, concerts bands are more in favor of using B-B-flat tubas, while the orchestra players prefer C-C tuba.
From the Paper "The Serpent was not immediately taken over by the tuba. There were some other variations designed before the tuba was finally embraced in its modern form. The other important ancestor of tuba is the ophicleide, which is a name deserved from two Greek words meaning serpent and keys. It was precisely in 1810 that ophicleide was designed in Ireland by Joseph Halliday. The instrument resembled a cornet in its function but looked more like a saxophone where its shape was concerned. Just like a serpent, ophicleide didn't particularly produce a pleasant sound, as extra lungpower was required to generate sound from this long curved instrument."
Abstract This paper uses the first two strophes from Act III's aria, "Possente spirito", to demonstrate the brilliant fusion of musical organization with emotional expression in Claudio Monteverdi's 1607 opera "Orfeo". The author points out that the fierce turbulence in Monteverdi's personal life is reflected in the plot of the opera. The paper relates that the opening two strophes, of which the text is quoted in the paper, are accompanied by basso continuo with parts of the first strophe punctuated by two violins and similar punctuation in the second strophe performed by two cornets. The author states that other strophes end in a brief ritornello. The paper explains that, for the vocal style, Monteverdi employs stile rappresentativo, or "the representational style", to convey the passions behind Orpheo's impending request to be allowed into Hades.
From the Paper "The spirit of these dotted eighth--sixteenth notes also effectively predicate the final line in the second strophe as Orfeo forwards the argument that since having lost his wife, he has no heart and cannot be alive, and therefore his entrance into Hades would be legitimate. Posing this argument to the ferrymen, Monteverdi paints a picture of Orfeo as coy as he is courageous. The composer makes the conclusion of Orfeo's question also a facetious question, after the preceding phrases in the cornets. It is difficult to hear Orfeo's final line of the second strophe without imagining the demi-god trying to conceal a little grin."
