| This dissertation explores the fact and the process of pedagogical changes among trumpet and cornet teachers in the United States during the period 1840-1942. It is the thesis of this document that these changes have been influenced by and reflect broad cultural, stylistic, and technological factors. Background information examined includes immigration patterns of players to the United States, teacher/student lineage, and the performance opportunities for brass players throughout the period of the study. Periodical articles, printed interviews, concert reviews, editorials, advertisements, dissertations, live interviews, and especially method books are examined and described in detail to establish individual teachers' pedagogical approaches regarding embouchure formation, pitch control, mouthpiece placement, breathing, tongue position and function, articulation, posture, hand position, and the development of dynamic range, upper register, and endurance. Trends and schools which are identified include an early dependence on stretching and mouthpiece pressure, the influence of British, French and German models in turn, "no-pressure" and then "smile" systems, refutation of the "no-pressure" approach, development of tongue arch techniques, and breathing and conceptual alternatives. Factors which emerge as related to the changes in pedagogy include the development of bands and orchestras in the United States, the nature of public performances, the choice of instruments, traditions brought by immigrant players and teachers, important individual teachers in Europe and in the United States, changing styles in popular and art music, as well as the study of physiology, learning theories, and policies of public education. |
