Title page for ETD etd-1107102-164200

Type of Document Master's Thesis
Author Schaffner, Matthew Scott
Author's Email Address mschaf3@lsu.edu
URN etd-1107102-164200
Title Concerto for Trumpet and Orchestra
Degree Master of Music (M.M.)
Department Composition
Advisory Committee
Advisor Name Title
Dinos Constantinides Committee Chair
Michael Kingan Committee Member
Stephen Beck Committee Member
  • quotation
  • new music
  • 20th century composition
  • contemporary music
  • simultaneous music
Date of Defense 2002-10-25
Availability unrestricted
Concerto for Trumpet and Orchestra (2002) is a three-movement composition for orchestra and solo trumpet. Each movement has a prominent theme, although there are themes that pervade the entire composition.

The main element in the work is a two-note rhythmic statement. This two-note statement unifies the piece. Another prominent idea is a pitch collection of three consecutive minor seconds and their inversions.

The first movement, Incipience, begins with a slow foreshadowing of the work’s main themes. Following the introduction is a quick fanfare that leads back to the opening material. A trumpet cadenza develops from the introductory ideas, which leads back to the fanfare section.

Much of the second movement, Departure, relies on material from Leonel Power’s mass Alma Redemtoris Mater. Two contrasting themes can be heard. The first is material from the Power mass, while the second theme is a polyrhythmic arpeggiation in a distantly related key. The juxtaposition of the two themes creates a polytonal effect.

The last movement implements ideas from the first two movements. Resolve uses five varying sections that are used in an ABCDA´B´C´E form. The opening A section uses a call and response idea with a rhythmic cell providing the basic material. The B section is fugal, reminiscent of the first movement’s B section. One melodic theme permeates the C section, which develops material around that single melody. The D section is a cadenza which combines previous solo material from each movement. The composition returns to the very opening of the entire work in the E section, which uses ideas from the first movement’s opening statement.

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