The American Trumpet Sonata in The 1950s - Jennifer Lorien Dearden

THE AMERICAN TRUMPET SONATA IN THE 1950S: AN ANALYTICAL AND
SOCIOHISTORICAL DISCUSSION OF TRUMPET SONATAS BY

GEORGE ANTHEIL, KENT KENNAN, HALSEY STEVENS,
AND BURNET TUTHILL
Jennifer Lorien Dearden, B.M., M.M.
Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS

August 2007
APPROVED:
Keith Johnson, Major Professor
Eugene Migliaro Corporon, Minor Professor
John Holt, Committee Member
Terri Sundberg, Chair of the Division of
Instrumental Studies
James C. Scott, Dean of the College of Music
Sandra L. Terrell, Dean of the Robert B.
Toulouse School of Graduate Studies
Dearden, Jennifer Lorien. The American trumpet sonata in the 1950s: An

analytical and sociohistorical discussion of trumpet sonatas by George Antheil, Kent
Kennan, Halsey Stevens, and Burnet Tuthill. Doctor of Musical Arts (Performance),
August 2007, 74 pp., 31 illustrations, references, 22 titles.
The trumpet, or some ancestral form of the trumpet, has existed nearly as long
as civilization itself. Despite its long history, however, the trumpets solo repertoire
remained limited and relatively unvaried until the second half of the twentieth century.
Like most music, the American trumpet sonatas from the 1950s are a reflection of the
culture and history surrounding their composition. The purpose of this research is to
show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and
Burnet Tuthill are both distinctly American and unmistakably from the 1950s.
The post-war era in America is often viewed as a time of unbridled optimism
stemming from economic prosperity and the nations military and industrial supremacy.
The decade of the 1950s is often viewed today as a simpler, happier time in Americas
history. The trumpet sonatas of this era reflect this primarily in their ebullient rhythms
and brilliant, often heroic melodies. However, darker characteristics of the decade (the
rise of communism, for example) also make veiled appearances in these four sonatas.
After an overview of the social and musical trends of the decade, the central
chapter of the work delineates formal, thematic, and tonal structures of each of the four
sonatas and their constituent movements. Highlighted throughout the analyses are
similarities between the pieces, especially intervallic structures, motivic rhythms, and
melodic construction. The final chapter discusses these similarities further and
integrates them into 1950s American history and culture.
Copyright 2007
by
Jennifer Lorien Dearden
ii
TABLE OF CONTENTS
Page
LIST OF MUSICAL EXAMPLES ...................................................................................iv
Chapter
1.
INTRODUCTION ..................................................................................... 1
Background and Significance
Purpose
State of Research
Method
2.
AMERICA AND AMERICAN MUSIC IN THE 1950s ................................ 7

History and Social Trends
American Music and the Academic Composer
3.
THEORETICAL ANALYSIS OF THE TRUMPET SONATAS OF TUTHILL,

ANTHEIL, KENNAN, AND STEVENS.................................................... 12
Burnet Tuthills Sonata for Trumpet and Piano, Op. 29
George Antheils Sonata for Trumpet
Kent Kennans Sonata for Trumpet and Piano
Halsey Stevens Sonata for Trumpet and Piano
4.
SYNTHESIS AND CONCLUSIONS....................................................... 47

Tonality, Modality, and Intervallic Structures
Rhythm and Meter
Style and the Academic Composer
Conclusions
APPENDIX .................................................................................................................. 58
WORKS CONSULTED................................................................................................ 73
iii
LIST OF MUSICAL EXAMPLES

Page
1.
Tuthill Movement I, mm. 1-2 Opening motives .............................................. 14
2.
Tuthill Movement I, mm. 29-31 Opening of S1 theme .................................... 14
3.
Tuthill Movement I, mm. 48-49 Opening of S2 theme .................................... 15
4.
Tuthill Movement I, mm. 84-87 Rhythmic motive variants ............................. 15
5.
Tuthill Movement I, mm. 101-103 Transition to Recapitulation ...................... 16
6.
Tuthill Movement II, mm. 46-48 B theme....................................................... 17
7.
Tuthill Movement III, mm. 16-18 Trumpet fanfare.......................................... 18
8.
Antheil Movement II, mm. 1-4 Opening of Theme A...................................... 22
9.
Antheil Movement II, mm. 38-39 Theme B .................................................... 23
10.
Antheil Movement III, mm. 1-4 Theme A ....................................................... 24
11.
Antheil Movement I, mm. 26-30 Secondary theme........................................ 26
12.
Antheil Movement IV, mm. 1-6 Theme A ....................................................... 26
13.
Antheil Movement IV, mm. 77-78 Theme C opening ..................................... 27
14.
Kennan Movement I, mm. 1-9 Principal theme opening ................................ 29
15.
Kennan Movement I, mm. 163-164 Motive X in transition ............................. 31
16.
Kennan Movement I, mm. 37-41 Original transition theme............................ 32
17.
Kennan Movement I, mm. 170-173 Altered transition theme......................... 32
18.
Kennan Movement I, mm. 204-206 Final trumpet fanfare ............................. 33
19.
Kennan Movement II, mm. 22-26 Opening of Theme B ................................ 34
20.
Kennan Movement III, mm. 1-7 Opening of Theme A ................................... 35
21.
Kennan Movement III, mm. 68-71 Transitional figure with Motive X.............. 36
22.
Stevens Sonata motives .................................................................................. 39
23.
Motive X1 from Movement I, with component Motive X.................................... 39
iv
24.
Stevens Movement I, mm. 245-249 Codetta with Motive X ........................... 42
25.
Stevens Movement II, m. 55 Opening of Theme C........................................ 43
26.
Stevens Movement III, mm. 15-16 Opening of Theme A............................... 44
27.
Stevens Movement I, mm. 62-66 Disjunct/lyrical melody .............................. 49
28.
Stevens Movement III, mm. 31-36 Disjunct/angular melody.......................... 50
29.
Tuthill Movement I, mm. 115-118 Melodic and harmonic uses of Motive X... 51
30.
Kennan Movement III, m. 1 Original opening of Theme A ............................. 52
31.
Kennan Movement III, mm. 125-127 Rhythmically altered opening of Theme A

......................................................................................................................... 53
CHAPTER 1
INTRODUCTION
Background and Significance
The trumpet, or some ancestral form of the trumpet, has existed nearly as long
as civilization itself. Despite its long history, however, the trumpets solo repertoire
remained limited and relatively unvaried until the second half of the twentieth century.
The earliest trumpet music is weighted toward the ceremonial or militaristic, as ancient
trumpets were created not for musical but rather for practical purposes, such as
signaling troop movements.
It was not until the beginning of the Renaissance era that new innovations in
metalworking led to the creation of what is commonly known as the natural trumpet.
Although this trumpet was still limited to pitches within the harmonic series, playing in
the clarino register (above the eighth overtone) allowed the performer to play a nearcomplete chromatic scale. By the Baroque era, the trumpets melodic capabilities were
being fully exploited by composers of the day, and the trumpet music of J.S. Bach, G.P.
Telemann, and others represented the apex of the solo trumpet repertoire for nearly two
centuries.
Though the Baroque era utilized the trumpet extensively, its lack of chromaticism
in its middle and lower registers caused the trumpet to fall out of favor in the Classical
and Romantic periods. Although the trumpet did have some important roles in
orchestral literature of those eras, there is an extensive gap in the solo trumpet literature
beginning at the end of the Baroque era and continuing well into the twentieth century.
It was not until the turn of the twentieth century, when the valve (invented nearly
a century earlier in 1815) had finally emerged as the road to chromaticism, that the solo
repertoire began to grow again. However, during this time it was the cornet, a close
cousin of the trumpet, which received composers attentions. Because the cornet was a
solo instrument with military bands, its repertoire from the early part of the century
consists largely of show pieces. While these pieces (by Jules Levy, Herbert Clarke and
others) are often challenging for the player, they are generally theme and variation
pieces and offer little in the way of musical substance.
By the 1940s the solo trumpet repertoire had still not advanced much beyond the
cornet solo, and only a few pieces, such as Paul Hindemiths Sonata for Trumpet,
emerged from the first half of the twentieth century. In 1944, the National Association of
Schools of Music (NASM) created a committee to survey, the type and quality of the
music being used in its member schools for students majoring in wind instruments. The
committee found, especially in the instances of horn, trumpet, and trombone, that
student programs contained numbers unable to bear comparison with the quality of
literature used by pianists, organists, and players of the stringed instruments. One
reason for this condition . . . was the lack of a sufficient quantity of good music written
for the instruments concerned.1
In order to remedy this situation, the NASM voted to commission large-scale
works (sonatas or concertos) for these brass instruments from mostly American
composers. The first series of commissions, chaired by Burnet Tuthill and completed
around 1948, added both Leo Sowerbys Sonata for Trumpet and Piano and Vittorio
Gianninis Concerto for Trumpet to the repertoire. After this a second series of works
was commissioned, resulting in two more pieces for trumpet, including Tuthills Sonata
for Trumpet in 1951. These two NASM series proved to be the first steps in the
resurgence of interest in writing for trumpet. In the 1950s the trumpet repertoire began
to expand in new directions, providing the foundation for nearly all contemporary solo
trumpet works.
Purpose
Like most music, the American trumpet sonatas from the 1950s are a reflection
of the culture and history surrounding their composition. The purpose of this research
and presentation is to show how the trumpet sonatas by George Antheil, Kent Kennan,
Halsey Stevens, and Burnet Tuthill are both distinctly American and unmistakably from
the 1950s.
Burnet C. Tuthill, introduction to Sonata for Trumpet and Piano by Leo Sowerby (Chicago: Gambled
Hinge, 1948).
The post-war era in America is often viewed as a time of unbridled optimism

stemming from economic prosperity and the nations military and industrial supremacy.
The decade of the 1950s is often viewed today as a simpler, happier time in Americas
history. The trumpet sonatas of this era reflect this primarily in their ebullient rhythms
and brilliant, often heroic melodies. However, darker characteristics of the decade (the
rise of communism, for example) also make veiled appearances in these four sonatas.
State of Research
The four trumpet sonatas that will be discussed in this dissertation are those by
George Antheil, Kent Kennan, Halsey Stevens and Burnet Tuthill. To date, only two of
the four sonatas have been analyzed and discussed in published literature. Ronald
Robert Ellistons dissertation, An Analysis of the Trumpet Sonatas of Kent Kennan and
Halsey Stevens: Models for Instruction, is the only work that directly compares these
sonatas, even though these pieces have emerged as pillars of the trumpet repertoire.
The four sonatas, although contemporaries, have never been discussed in conjunction
with each other.
Both Kennan and Tuthill have been the subjects of dissertations, but Kennans
Sonata for Trumpet is discussed only minimally, and Tuthills Sonata for Trumpet is
mentioned only in his list of works. Tuthills piece has, since its composition in 1951,
fallen into obscurity and to date has never been commercially recorded. However, the
work is historically significant, as it was one of the original works commissioned by the
NASM.
There is a substantial amount written about and by Halsey Stevens himself,
whose essays and lectures about composition and contemporary musical trends
provide insight into the academic composers circumstances and views. And while
George Antheil has received much attention as the self-proclaimed Bad Boy of Music,
most of the works from his last decade of life, in which the Sonata for Trumpet is
included, have been neglected.
Research regarding trumpet sonatas specifically in the context in the 1950s is
non-existent, hence the purpose of this paper. However, literature does exist
discussing many aspects of the 1950s such as popular culture, politics, economics as
well as general history. Two sources on this topic are Popular Culture in the Fifties by
Frank A. Salamone and A Kinder, Gentler America: Melancholia and the Mythical 1950s
by Mary Caputi.
Method
This study will discuss how each of the four sonatas is a product of its era,
namely, the 1950s. After an overview of the social and musical trends of the decade,
the central chapter of the work delineates formal, thematic, and tonal structures of each
of the four sonatas and their constituent movements. Highlighted throughout the
analyses are similarities between the pieces, especially intervallic structures, motivic
rhythms, and melodic construction. The final chapter discusses these similarities further
and integrates them into 1950s American history and culture.
CHAPTER 2
AMERICA AND AMERICAN MUSIC IN THE 1950s
History and Social Trends
By 1946 the United States had emerged as the worlds chief military and
industrial power. In the years that followed, energies that had previously been directed
towards manufacturing materials for war were simply shifted to supply goods for an
expanding economy. By 1952, America comprised only 7 percent of the worlds
population but produced 52 percent of its mechanical energy and 65 percent of its
manufactured goods.2 1952 is often termed, the first real year of the fifties. It was the
first year in which business expanded not to catch up with demand but to meet future
demand.3
The decade of the 1950s has an image of being a simple and happy time in
Americas history. And, when one considers the previous decades of depression and
war and the following decades of social unrest and more war, the 1950s do seem to
stand as an oasis amid otherwise dark times. The 1950s are often characterized by a
general feeling of optimism throughout the American public, exemplified by the rapid
Frank A. Salamone, Popular Culture in the Fifties, (Lanham, Maryland: University Press of America,
2001), 1.
3
Ibid., 2.
increase in marriages and subsequent doubling of the pre-war birth rate. This baby
boom, as it has come to be called, naturally led to a surge in the construction of homes.
Further, Frank A. Salamone suggests that the fifties have often been presented
as a rather homogeneous period in which everyone lived in Suburbia or was on the way
there.4 New families not only wanted to own their own homes but also wanted to get
out of urban areas. William Levitt (founder of the Levittown communities in New York
and Pennsylvania) and other developers capitalized on this desire by building low-cost
tract housing that marked the suburban explosion.5
Facilitating this emigration to the suburbs was the rise in the standard of living
during the 1950s. Numbers of high school graduates rose dramatically in comparison to
previous decades, and advancements in science and medicine were abundant. But
perhaps the most telling indicator of the improved standard of living was the emphasis
placed on convenience. TV dinners and laborsaving home appliances freed
suburbanites, women especially, from daily toil and allowed more time for leisure.6 As
Mary Caputi points out, these conveniences, assured Americans that the drudgery,
privations, and self-sacrifice of the 1930s and 1940s were now a thing of the past. The
1950s were about consuming, enjoying, and celebrating the American way of life.7
The 1950s are generally idealized as the height of American prosperity and
supremacy. And in many ways, the 1950s, probably were a kinder, gentler time. For
many Americans provided they were white, middle-class, Christian and heterosexual
the decade probably does recall an innocent past. . . . The safety and innocence that
4
Ibid., v.
Ibid., 2-3.
6
Ibid., 3.
7
Mary Caputi, A Kinder, Gentler America: Melancholia and the Mythical 1950s, (Minneapolis: University
of Minnesota Press, 2005), 17.
5
many knew was paid for by the segregation and discrimination imposed on others.8
The American Civil Rights movement had essentially been ongoing since the end of the
Civil War, but the 1950s were a pivotal time in the struggle.
In 1954 the landmark decision in Brown v. Board of Education of Topeka found
the separate but equal policy unconstitutional. The following year Rosa Parks refused
to give up her seat on the bus. The Montgomery Bus Boycott began soon after,
ultimately resulting in Alabama bus segregation laws also being ruled unconstitutional.
In practice these rulings did not instantly end segregation of the races, but it began a
cascade of civil rights breakthroughs that would continue into the next decade.
In addition to civil rights struggles, the 1950s also saw the United States struggle
against a new adversary. After World War II, communism was seen as the greatest
affront to the American way of life, and former allies, like the USSR and China, soon
became enemies. Military involvement in the Korean War, the beginnings of the Cold
War, and McCarthyism were all products of Americas battle with communism.
Following the containment policy first outlined by George F. Kennan (brother of
Kent Kennan) and further endorsed by the Truman Doctrine, the United States sent
troops to Korea to attempt to prevent the spread of communism. Despite spending
three years in Korea, America was never officially at war, and the Korean Conflict is
usually overshadowed by both World War II and the Vietnam War. The Cold War
between America and the USSR was likewise not a true war (although it lasted for
several decades) and was mostly carried out via espionage and the nuclear arms race.
Officially at peace during the 1950s, citizens no longer needed to pull together
as they did during World War II.9 As a result, people were more likely to turn on each
8
Ibid., 10.
other, and nowhere was this more apparent than during the Red Scare, led by Senator
Joseph McCarthy. Being charged as a Communist (falsely or otherwise), or even
simply being subpoenaed by the House Un-American Activities Committee could
devastate a persons life and career.10 The only defenses, which were meager at best,
were to claim protection by the Fifth Amendment, or to name names of ones
colleagues that were Communists.
Overall, the 1950s were a time of great prosperity, optimism and happiness,
evidenced by economic expansion and scientific advancement. However, beneath all
that ran a dark undercurrent of discrimination, distrust, and fear, which eventually
bubbled to the surface a decade later and led to the social unrest of the 1960s.
American Music and the Academic Composer
In the nineteenth century and the early decades of the twentieth century, art
music heard in America was most often composed elsewhere (usually Europe or
Russia) and performed by ensembles consisting largely of European players. But in the
1930s and 1940s, American composers began experimenting with new forms of music.
These experiments often deviated wildly from the previously accepted definition of
music, and, as a result, gained only minimal acceptance from the general public.
Despite this, avant-garde music continued to be composed in the 1950s.
Taking a cue from Arnold Schoenberg and serialism, many American composers
began using systems to create their works. Milton Babbitt, for example, used his
9
Richard Crawford, Americas Musical Life: A History, (New York: W.W. Norton & Company, 2001), 692.
The artistic community, Hollywood in particular, was targeted by McCarthyism and many artists were
blacklisted and subsequently denied work.
10
10
mathematical training to serialize not just notes, but rhythm, dynamics, and other nonpitched elements. In 1958 Babbitt even went so far as to label his craft a complex
science not meant to be understood by general audiences.11
Other composers of the 1950s eschewed the avant-garde and would probably be
best categorized as neo-classical, returning to standard structures (like sonata-allegro
form) and writing in a more melodic style. However, these composers, like Kent
Kennan and Halsey Stevens, kept their works contemporary by using modern devices
such as highly disjunct melodies, non-traditional tonality structures, and a heavy
emphasis on rhythm and metric accents.
A further development in American classical music is the rise of music in
academia. In response to a large influx of military veterans taking advantage of the GI
Bill, many colleges and universities expanded their music programs.12 The growing
programs consequently required additional faculty to teach music, and many composers
took advantage of this new opportunity. Instead of relying on rich patrons to fund their
works, composers could now receive a regular salary. In exchange for educating the
next generation of musicians, composers now had the freedom to compose music for its
own sake and not to the specifications of a patron. With the exception of George
Antheil, the composers in this discussion were an integral part of American academia
throughout their careers.
11
Babbitt made this statement just one year after Russias 1957 launch of Sputnik I incited the United
States to devote most of its attention to the sciences.
12
Crawford, 693.
11
CHAPTER 3
THEORETICAL ANALYSIS OF THE TRUMPET SONATAS OF TUTHILL, ANTHEIL,
KENNAN, AND STEVENS
This chapter will give a broad description of each of the four American trumpet
sonatas written during the 1950s. The sonatas will be presented in chronological order
so that any compositional evolutions may be noted. The discussion of each sonata will
begin with background information regarding the works composition and premiere, and
then each movement of the sonata will be analyzed. The analysis will be an overview of
the formal and tonal structures of the movement. Diagrams of each movement are
included in the Appendix.
Burnet Tuthills Sonata for Bb Trumpet and Piano, Op. 29
As mentioned previously, Burnet Tuthill (1888-1982) chaired the first series of

NASM commissions intended to expand the brass repertoire. The second series was
chaired by Karl Eschman, and Tuthill was one of the composers commissioned to
contribute to the series. Although Tuthill had previously written one other piece for
trumpet, the Scherzo, Op. 10, No. 1 (1948), his Sonata for Bb Trumpet and Piano, Op.
29 (1951), was his first large-scale work for the instrument. The Sonata was premiered
12
at the twenty-fifth anniversary meeting of the National Association of Schools of Music

(NASM).13
Movement I Allegro ben marcato
While Tuthill is generally traditional about the sonata-allegro structure of this

movement, the tonality is decidedly unconventional. Throughout the movement Tuthills
harmonic progressions are created linearly, making the tonality very fluid. Individual
themes are rarely in a particular key. Further, Tuthill uses quartal sonorities prominently
in both melody and harmony.
Exposition (mm. 1-69)
The principal theme (mm. 1-23) of the first movement, stated in the trumpet part,
opens with descending fourths followed by a descending minor third in the rhythm ekx.
These two elements serve as the main motives for the movement. The opening three
pitches, B-Flat, F, C, are sounded over a D-flat major chord (with B-flat) in the piano.
(See Example 1) While the first phrase of the principal theme ends on the trumpets Dflat in m. 10, there is no other musical evidence that points to D-flat as the opening
tonic. The intervals of this theme are incredibly disjunct and it is very angular in nature.
13
Jean Lee Raines, "Burnet C. Tuthill: His Life and Music" (Ph.D. diss., Michigan State University, 1979),
89-90.
13
Further, the accompaniment is often intervallically dense and is regularly dissonant

within itself and with the trumpet melody.
Example 1 Tuthill Movement I, mm. 1-2 Opening motives.

Following transitional material based on the principal theme, the secondary
theme section begins in m. 29. There are actually two secondary themes, S1 and S2,
which are closely related but distinct enough to be separate ideas. S1 (mm. 29-47) has
a static opening with several repeated pitches. After this initial figure the theme
becomes more active, using the rhythmic motive ekx in augmentation (as qke) and
sequencing it down by perfect fourths. Although S2 (mm. 48-69) opens in a similar
manner to S1 (see Examples 2 and 3), the rest of the theme is more flowing and has
more chromatic coloring.
Example 2 Tuthill Movement I, mm. 29-31 Opening of S1 theme (trumpet).
14
Example 3 Tuthill Movement I, mm. 48-49 Opening of S2 theme (piano).
Development (mm.70-100)
Only thirty bars long (mm. 70-100), the development is the shortest portion of the
movement. The majority of this section is based on the principal themes rhythmic
motive ekx, which descends a minor third. In a highly technical section (mm. 70-92)
that requires both rapid fingering and multiple tonguing from the trumpet player, Tuthill
states the motive several times and then alters it rhythmically while retaining the same
pitch content. (See Example 4)
Example 4 Tuthill Movement I, mm. 84-87 Rhythmic motive variants (trumpet).
The final measures of the development (mm. 92-100) use material from S2 but in
the piano only. Tuthill then transitions into the recapitulation (mm. 101-105) using a
fragment from S1 in the piano while the trumpet has the rhythmic motive from the
principal theme, now stated as a tritone instead of its original minor third. (See
Example 5)
15
Example 5 Tuthill Movement I, mm. 101-103 Transition to Recapitulation.
Recapitulation and Coda (mm. 106-161)
Traditionally, the recapitulation presents the main themes in the tonic key.
However, since the exposition did not present a firm tonic, Tuthills recapitulation has an
atypical tonal structure. The principal theme once again begins with descending fourths
over a D-flat major chord, but after just a few bars it is altered so that the first phrase
ends on C-flat, a whole step below its counterpart in the exposition. The theme
continues to shift down as the second phrase is stated down a minor third. After
transitional material, the S1 theme is presented up a step from the original. S2 is not
stated.
The coda begins in m. 153 with the trumpet reiterating the rhythmic motive in its
original pitch structure. It begins softly and builds for three bars until m. 156, where the
trumpet repeats the opening pitches of the movement (B-flat, F, C) up an octave. At
this same point the piano plays these same pitches in eighth note triplets, which is the
first and only instance of that rhythm in this movement. The movement closes on an Eflat major chord, a full step above where it began.
16
Movement II Slowly-Vivace
Using a standard ABA structure for this second movement, Tuthill draws mostly
conventional tonalities, using an overall structure of i-iv-i. However, the opening meter
of this movement is 5/4, moving to a faster, livelier 5/8 for the B section. The slow-fastslow format of the movement is slightly unusual, but 5/8 meter (in a solo trumpet work)
was practically unheard of in 1951.
F minor is the prevailing key in the opening A section (mm. 1-16), but a strong
emphasis on D natural in the simplistic trumpet melody gives the theme a Dorian
quality. The B section (mm. 17-58) is in the subdominant key of B-flat minor. The
asymmetric meter is grouped into 2+3 (q qk) throughout, which is proportional to the
h hk
groupings in the A section. Shifting into 5/8 meter, the melodic line naturally becomes
more active and is characterized by perfect fifths followed by stepwise thirds, as shown
in Example 6.
Example 6 Tuthill Movement II, mm. 46-48 B theme (trumpet).
Theme A returns in m. 59 and it is nearly identical to the initial presentation. The

most noticeable difference is that trumpet is now muted. The movement closes on an F
minor chord with a D natural in the trumpet, reinforcing the Dorian mode.
17
Movement III Rondo
This rondo is in a traditional ABACA structure, and its opening A theme (in B-flat
Dorian) is presented in the trumpet first (mm. 1-18) and then immediately restated by
the piano in a shortened and rhythmically altered form (mm. 19-26). At the close of the
first statement of theme A, the trumpet has a fanfare figure on B-flat and F (see
Example 7), which will first be expanded in the upcoming transition (mm. 27-34), and
then will be figured prominently at the close of the movement. The ensuing B theme
(mm. 35-48) is slightly slower than the A theme and is marked leggiero. This G minor
melody is characterized by sixteenth-note rhythms and mostly stepwise motion.
Example 7 Tuthill Movement III, mm. 16-18 Trumpet fanfare.
Prior to the return of the A theme Tuthill briefly deviates from the conventional
rondo by inserting an Interlude (mm. 49-76). It opens with a fragment of theme A stated
down a semitone, but the piano accompaniment is centered around G, suggesting
bitonality. The B theme is also represented in this Interlude, but it, too, is only stated as
a fragment. When the trumpet part has finished, the Interlude concludes with the piano
prolonging F (the dominant of B-flat) in preparation for the first true return of the A
theme.
18
The A section (mm. 77-95) is nearly identical to the themes original statement.
However, the trumpet melody has rhythmic embellishments and the piano figuration has
changed (although the harmonic motion remains the same). Also, the theme is no
longer presented in the piano. The transition following the theme has also been
shortened and slightly changed so that it sets up G-flat major, the tonic of the C theme.
While themes A and B were rhythmically active, the C theme (mm. 96-127) is
very lyrical. The piano presents the first statement, which the trumpet repeats exactly
eight measures later. Following this is a brief transition (mm. 112-115) using material
from the Interlude, shifting the theme down a semitone to F major. The C theme is
stated once more in this new key, which is, in effect, another dominant prolongation
setting up the final return of the A theme.
This last presentation of theme A (mm. 128-144) is now in B-flat major. In
addition to this modal change, the piano accompaniment repeats the rhythm qq , which
is the rhythm of the first bar of theme C. The movement closes with a Codetta (mm.
145-151) that embellishes and then continually repeats the B-flat-F interval that closed
the A theme. The Sonata concludes on a B-flat major chord.
George Antheils Sonata for Trumpet
Little is known about the history of this work, probably due to the fact that it was
not commissioned by NASM, nor has it emerged as a cornerstone of the trumpet
repertoire (although it is still performed occasionally). Further, George Antheil (1900-
19
1959) is known mostly for his early avant-garde works and riotous recitals and, as a
result, many of his post-war pieces, like his trumpet sonata, tend to be ignored. The
Sonata for Trumpet was written in 1951 but it was not premiered until three years later.
Edna White Chandler (1892-1992), a child prodigy and pioneering female trumpet
virtuoso, gave the first performance at Columbia University.14
Important to note in all four movements is the preponderance of fourths, both
perfect and otherwise. They appear largely in the bass line but they are used
melodically as well. In addition, Antheil tends to favor the major chord in his harmonies,
but he frequently offsets these consonances with a large number of semitone clashes
between the melody and accompaniment.
Movement I Allegretto
Loosely in sonata form, the first movement begins with a brief Introduction (mm.
1-3), which, since it is stated by the trumpet, seems at first to be the start of the principal
theme. However, the restatements of the principal theme do not include these opening
bars, which introduce the meter (12/8), style, and accompanimental patterns of the
expositional themes.
14
Susan Fleet, "Edna White Chandler: A Brasswoman Pioneer," Women of Note Quarterly 2, no. 4
(1994): 10.
20
The true principal theme (mm. 4-15) opens in C major but begins to deviate from
it within a few measures. The melody (stated over arpeggiated piano chords) is disjunct
but slurred and lyrical. The theme is stated twice more, first beginning in A-flat and then
D-flat. After a frenetic transition (mm. 16-21), the lilting quality of the principal theme
returns in the secondary theme (mm. 22-35). Beginning in G major (the dominant of the
principal themes C major), this theme also quickly moves away from its tonic.
Development (mm. 42-93) and Recapitulation (mm. 99-110)
In general, the development is more contrapuntal in nature than the exposition,

presenting both new ideas as well as those derived from the principal theme. The first
(mm. 42-60) of its three sections is characterized by a meter change to 2/4 and the
rhythmic motive e xx. The melody is highly disjunct and incorporates many rapid
dynamic shifts. A grand pause in m. 60 serves as the transition to Section 2 (mm. 6180), which begins with material from the Introduction, now in a minor mode, in the piano;
the trumpet joins in at m. 65. At m. 70 the trumpet presents the principal theme in E-flat
while the piano continues with the Introduction.
Section 3 (mm. 81-93) represents the fastest tempo of the movement and
consists of nearly perpetual running sixteenth notes in either one or both parts. In mm.
89-90 the trumpet briefly recalls the rhythmic motive from Section 1 while the piano
states the principal theme in G-sharp, but the running sixteenth notes return by m. 91.
21
The very brief recapitulation begins with the trumpet stating the secondary theme
while the piano plays the accompaniment from the principal theme. The recapitulation
begins and ends in C major, the original tonic of the movement. The principal themes
melody is not restated.
Movement II Dolce-espressivo
The A theme (mm. 1-29) of this traditional ABA form begins with muted trumpet
in F major over arpeggiated chords. When the piano picks up the melody in mm. 5-13,
the arpeggios continue in the left hand while the right hand plays tonally separate block
chords, suggesting a brief period of bitonality. This theme is inherently sequential (See
Example 8), a quality exploited in the ensuing altered restatement (mm. 14-29).
Example 8 Antheil Movement II, mm. 1-4 Opening of Theme A (trumpet).
Following a transition analogous in style to the chaotic transitions of the first

movement, the B theme (mm. 38-49) begins in C major (the dominant of theme As F
major). Theme B has a similar character to Theme A, and it also frequently uses the
rhythm ekx. However, Theme B is very simplistic, consisting only of a two-measure
idea (See Example 9) that is repeated, sequenced down a semitone and then repeated
22
yet again. The transposed iterations, however, are stated over different piano
accompaniment.
Example 9 Antheil Movement II, mm. 38-39 Theme B (trumpet).
The transition into the return of theme A is comprised of a trumpet cadenza over
a C major chord followed by a bII-V7-I cadence in F major to signify the return of the
tonic key. The opening of theme A (mm. 54-77) is identical to A until m. 60, where a
new trumpet line begins. A brief portion of the A section incorporates material from an
earlier transition (mm. 30-37) and a false restatement of theme B, but theme A returns
for the close of the movement. Although the piano plays an F major chord in the
penultimate bar, the trumpet disrupts it with an F-sharp. The movement ends
inconclusively with a D major chord moving to an A-flat7 chord.
Movement III Scherzo
Antheils Sonata is the only one of the four discussed to include a scherzo, but it
is in 4/4 instead of the standard 3/4. Further, the extremely short main ideas (most are
only four bars long) make up an unusual rondo form, which contains nearly as much
transitional material as it does thematic. (See Diagram 6 in the Appendix)
The A theme (mm. 1-4) is a trumpet line beginning on B-flat which will, in
subsequent statements, be distinguishable predominantly by its rhythm and contour.
23
(See Example 10) Its piano accompaniment consists of sixteenth note arpeggios with
no discernable harmonic progression. The B theme (mm. 11-15), following a lengthy
transition, is a true melody that opens in F major. Its lyrical character contrasts that of
the stuttering A theme, but the accompanimental arpeggios continue in the piano.
Example 10 Antheil Movement III, mm. 1-4 Theme A (trumpet).
The next three transitions (mm. 15-17, mm. 22-24, mm. 28-30; T2-T4 on Diagram
6) are all of similar structure, containing the rhythm of the A theme in the left hand
underneath the perpetual sixteenth note arpeggios in the right hand. The trumpet adds
punctuations throughout these transitions.
The first recurrence of theme A (A, mm. 18-21) is identical to the original except
that it transposed up a step. After another transition a new idea arrives in m. 25.
Vaguely focused around G (with indefinite modality), this figure is only arguably a full
theme (Theme C). Only three measures long (mm. 25-27), two measures are identical
and the third consists entirely of a trill. However, this idea is considerably different from
anything else in the whole movement and it is melodic in nature.
The next presentation of theme A (A, mm. 31-34) is only a partial statement
beginning in D minor over a D pedal; the fragment is then repeated. One bar of
transition follows before a new idea, theme D (mm. 36-39) begins over a G pedal.
Although it has similar rhythms to theme A, it has a different contour and different
24
accompaniment (the piano arpeggios are not present here). Theme D is followed by
one more variation of A, (A, mm. 40-43).
The next section (mm. 46-59) is a near-exact repetition of mm. 1-14 (the original
statements of themes A and B), with only a few melodic embellishments and
accompanimental octave displacements. The movement closes with a brief coda (mm.
60-67) which presents portions of both the main themes over a B-flat pedal and closes
on a B-flat minor chord.
Movement IV Allegretto
The final movement of Antheils Sonata is another loosely-formed rondo which

alternates between two main themes. These themes are heavily derivative of the
secondary theme from the first movement. The melody of theme A (mm. 1-6) is taken
almost directly from the second half of the secondary theme, but in this movement the
theme is in triple meter and the accompanimental texture is different. (See Examples
11 and 12) The opening C major tonality and the harmonic movement in fourths are
also reminiscent of the first movement.
25
Example 11 Antheil Movement I, mm. 26-30 Secondary theme (second half).
Example 12 Antheil Movement IV, mm. 1-6 Theme A.

26
Theme B (mm. 11-22) is initially stated in changing and asymmetric meters with
subito dynamic shifts and staccato articulations. When, after the A statement, it returns
as B (mm. 33-40), it quickly transforms into a full restatement of the first movements
secondary theme over a B-flat pedal. After an Interlude (mm. 41-54) states fragments
of both themes, A (mm. 55-71) presents the melody and accompaniment in the original
key in the piano, but the trumpet melody is transposed up. However, the transposition
is not consistent throughout the statement.
Theme C (mm. 77-95) is the longest section of the movement and is
developmental in character. Moving into simple meter to contrast the compound meters
of A and B, theme C is characterized by sixteenth note rhythms, a faster tempo, and an
initial contour and accompanimental texture similar to that of Theme A. (See Example
13 and compare with Example 12) In mm. 83-84 the trumpet line becomes more scalar,
and this continues with slurs in mm. 92-95.
After one final presentation of theme A that is identical to its original statement,
the coda begins in m. 112 with A-related material. The Sonata closes on a strong C
major chord.
Example 13 Antheil Movement IV, mm. 77-78 Theme C opening.

27
Kent Kennans Sonata for Trumpet and Piano
Commissioned by the NASM in 1954, Kent Kennans Sonata for Trumpet and
Piano was premiered by J. Frank Elsass on November 26, 1955 at the NASM
convention in St. Louis, Missouri.15 Kennan (1913-2003) and Elsass (1913-1981) were
colleagues at the University of Texas at Austin during the time the Sonata was
composed, and Elsass (a former cornet soloist with the Goldman Band) provided
Kennan with invaluable advice about how to pace and voice the trumpet part.16
Grateful for his collaboration, Kennan dedicated the Sonata to Elsass. The movements
of Kennans Sonata for Trumpet and Piano follow the same format as Tuthills work.
However, Kennans piece has more clearly defined tonal centers, although modality is
often indeterminate.
Movement I With strength and vigor
The principal theme (mm. 1-37) is stated three times in succession; the first
presentation is centered in E-flat while the two subsequent statements are less stable.
The first statement is fluid in its modality, beginning in minor, passing through Phrygian,
15
Ronald Robert Elliston, "An Analysis of the Trumpet Sonatas of Kent Kennan and Halsey Stevens:
Models for Instruction" (D.M.A. diss., University of Oregon, 1978), 18.
16
Laura Elizabeth Parsons, "Kent Wheeler Kennan: American Composer and Music Educator" (D.M.A.
diss., University of North Carolina at Greensboro, 1998), 75.
28
and ending in major. However, the major mode is fleeting, as the piano begins the
second statement of the theme in the next measure.
The principal theme provides the motivic basis for much of the first movement.
(See Example 14) The opening pitches (E-flat, B-flat, A-flat) form three intervals: two
perfect intervals and a whole step. This grouping of intervals, Motive X, will be
discussed further in the next chapter. Kennan stresses the importance of this motive by
repeating it immediately in m. 2. Following Motive X, Kennan introduces the fanfare
motive a rising fourth or fifth (again emphasizing the perfect intervals) in the rhythm
ex or a variant thereof.
Example 14 Kennan Movement I, mm. 1-9 Principal theme opening with

statements of Motive X (trumpet).
The third statement of the principal theme closes on octave Fs in the trumpet
and piano, and this F is sustained throughout the following transition (mm. 37-48) as a
pedal point. The pedal supports a lyrical melody in the piano (based on Motive X)
underneath muted fanfares in the trumpet (also based on Motive X). Further, Motive X
appears vertically in this transition.
29
The secondary theme (mm. 49-63) begins in the piano in D minor. Once again
motive X plays a prominent role in the themes structure. The theme is entirely lyrical
with no fanfares in the trumpet part. Although it is in 4/4 throughout, in mm. 52-53
accents in the piano part make the meter aurally ambiguous. At the conclusion of the
pianos statement the trumpet immediately presents the theme again in A minor.
Kennans Sonata is the only one of the four works discussed to have a true
closing theme (mm. 63-74) in its sonata-allegro movement. Returning to the original
tempo and centering again on E-flat, this closing material is reminiscent of the principal
theme but is thematically different. Motive X remains central, linking all the expositional
ideas.
Development (mm. 85-101)
After a transition containing material from the principal theme and several
occurrences of Motive X (which, by this point, has clearly emerged as the germ cell for
the movement, and, as will be shown, the entire work), the development begins with a
quasi-cadenza in the trumpet over a B-flat pedal in the piano. It is based on secondary
theme material and more fully exploits the metric displacement introduced in mm. 5253. Like the development in Tuthills first movement, this section is the shortest of the
movement.
30
Recapitulation and Coda (mm.102-210)
Recapitulations traditionally begin very dramatically and their function is to

restate the main themes in the tonic key. This movements recapitulation, however,
arrives softly in m. 102. And while all the themes from the exposition are represented in
the recapitulation, none of them are stated in E-flat.
The first two of the original three statements of the principal theme are combined
in the recapitulation, arriving on F in m. 110. The remainder of the recapitulation is an
exact duplicate of the exposition transposed up a semitone. The ensuing transition
(mm. 163-178) begins with the new accompanimental idea of broken octaves in
sixteenth notes in the piano. Motive X appears three times in succession in this figure.
(See Example 15)
Example 15 Kennan Movement I, mm. 163-164 Motive X in transition (piano).
The rest of this transition is based, logically, on the transitional theme from the
exposition (mm. 37-48). Here the theme is presented in the trumpet in a new style, new
rhythm and with some embellishments. (See Examples 16 and 17) Underneath this
altered statement, the piano plays an eighth note motor emphasizing E-flat, the
movements opening tonic.
31
Example 16 Kennan Movement I, mm. 37-41 Original transition theme (piano).
Example 17 Kennan Movement I, mm. 170-173 Altered transition theme.

(trumpet)
The movement concludes with an extensive coda (mm. 179-210), which opens in
a dramatically slower tempo with a fully melodic fanfare over a C major chord.
Following this, the trumpet presents the principal theme (mm. 189-194) in a new key (Dflat) and a new character (slow and lyrical). The Tempo I at m. 194 returns the principal
theme to its original style, and fragments of it are stated repeatedly until an E-flat major
chord arrives in m. 200. The rest of the movement is essentially a cadential extension
reiterating E-flat, with a few more iterations of Motive X in the final trumpet fanfare.
(See Example 18) Although the E-flat major chord in m. 200 is very strong, a Gb
appears in m. 208, rendering the closing E-flat octaves modally ambiguous.
32
Example 18 Kennan Movement I, mm. 204-206 Final trumpet fanfare with

statements of Motive X.
Movement II Rather slowly and with freedom
This movement begins with an introduction in the piano (mm. 1-4), in which a
single G expands to three octaves. The A theme (mm. 4-15), stated by muted trumpet,
begins and ends in G minor, but the middle is tonally fluid. Like the first movement, the
melody has multiple occurrences of Motive X; vertical presentations of the motive also
appear.
The accompaniment to theme A is mostly static, widely spaced chords moving in
non-traditional progressions. However, the piano does have rhythmic activity when the
trumpet is holding a pitch or resting, as in the transition (mm. 15-20) leading to the B
theme (mm. 20-45).
The piano begins the B theme accompaniment in m. 20 with a D pedal under an
imitative ostinato line. The trumpet melody starts two measures later with two
successive statements of Motive X. (See Example 19) Although the disjunct but lyrical
melody suggests D minor, there is no F (natural or sharp) to confirm a mode. Being the
only section of the movement that is not muted, it is timbrally distinct from the A theme
and coda.
33
Example 19 Kennan Movement II, mm. 22-26 Opening of Theme B with

Measures 41-45 present only a fragment of the B theme, but it is the most
intense section of the movement. Marked forte and molto marcato, this fragment is also
the highest point of the movement in terms of the trumpets range. The key of E is
supported by the broken octaves (acting as another pedal) in the piano.
Until the end of m. 65, the A section (mm. 56-66) is almost identical to the
original presentation of the A theme. Since the return is shortened, the transitional
material arrives early at m. 66 and is stated down a step. The movement concludes
with a coda (mm. 69-77) in C major (a key not present in the second movement prior to
this section). The trumpet, employing a Harmon mute for another timbral change,
emphasizes the dominant through m. 71 but arrives on the tonic C in the last measure.
34
Movement III Moderately fast, with energy
There is some debate as to the form of the final movement of Kennans Sonata.
Ronald Robert Ellistons analysis describes it as being in sonata form, whereas Laura
Elizabeth Parsons deems it a rondo. This analysis will more closely resemble the latter.
(See Diagram 10 in the Appendix.)
The A theme (mm. 1-13) is a highly rhythmic and disjunct melody which provides
the basis for much of the movement. Although it begins in B-flat minor, the tonality
through the A theme is fluid. Motive X appears again in this theme, occurring twice in
the first measure. This motive serves as a marker for theme A, as it does not appear in
the other two themes in this movement. (See Example 20)
Example 20 Kennan Movement III, mm. 1-7 Opening of Theme A with

Another salient feature of the A theme is the use of mixed and asymmetric
meters, and Kennan continues to use them in theme B (mm. 15-30). However, Kennan
uses accents in mm. 15-16 to imply groupings outside the 3/4 meter. Why he employs
this technique when he is comfortable using asymmetric meters (8/8 and 10/8 appear
later in theme B) is unclear.
35
Like theme A, theme B is fast and rhythmic with disjunct intervals. However, the
intervals are generally triad-based in theme B, whereas theme A utilized Motive X. The
piano ostinato under the leggiero melody centers on E-flat for the first half of the theme,
shifting to A-flat by m. 27.
When theme A returns (A, mm. 33-46), it is similar in many ways to its first
presentation. However, it is stated down a semitone with different accompaniment
through m. 41. It closes with a poco ritardando into a fermata to set up the tempo
change for the next section. Theme C is stated in the piano only and is marked Simply;
in the manner of a chorale. It is, in fact, a four-voice chorale in G, beginning in the
minor mode and closing in the major mode. Despite its mode change Theme C is the
only theme in this movement to have a central key.
After this, the A theme returns again (as A, mm. 57-67) in G minor, with more
noticeable alterations than the A statement. The mixed and asymmetric meters of the
original theme have been changed to one 3/4 bar amid 4/4. Also, the theme is
shortened by several measures. A short transitional section (mm. 68-71) follows A, in
which the trumpet has a melody based on Motive X followed by a scalar quintuplet
leading to the next tonic. (See Example 21) This figure, or a fragment of it, will be used
again in subsequent transitions.
Example 21 Kennan Movement III, mm. 68-71 Transitional figure with Motive X
(trumpet).
36
B (mm. 71-82) is presented down a semitone from the original theme B and it is
slightly shortened as well. After transitional material theme C returns in an altered form.
The soprano line from the original chorale is stated by the trumpet, but the other three
voices are not present. In addition to a key change (up a minor third to B-flat minor), the
melody is marked fortissimo, marcato.
The final presentation of A (A, mm. 111-122) is initially hidden beneath a flurry
of trumpet activity. Further obscuring this theme is the fact that it is stated in an inverted
form. In mm. 111-114 the piano has this altered A theme while the trumpet has a
rhythmic and highly chromatic accompaniment. A few measures later (mm. 117-122)
the roles reverse.
The coda (mm. 122-144) utilizes only A theme material, although it is just used in
fragments. In addition, the rhythm has been modified so much that theme A is only
recognizable through its interval structure. The tonic shifts often through the coda,
beginning in A-flat and moving through F and D-flat before the return to B-flat for the
final cadence. As in the first movement, the closing sonorities do not contain a third,
leaving mode of the final chord unclear.
Halsey Stevens Sonata for Trumpet and Piano
Although Halsey Stevens (1908-1989) began the preliminary sketches for his
Sonata for Trumpet and Piano in May 1953, he did not complete the work until 1956.17
Stevens said of the compositional process, After I finished the third movement, I found
to my chagrin that I had estimated its duration as twice what it actually was. It therefore
17
Elliston, 20.
37
became necessary to recast it in a larger structure, hence the delay.18 The premiere of
the Sonata was given on November 12, 1957 at the Hartt School in Hartford,
Connecticut by Theodore Gresh (trumpet) and Geraldine Douglass (piano).19
Stevens has been called a master of contrapuntal technique because he
continuously develops and restates thematic materials. . . . One idea develops out of
another. . .20 In the Sonata, the seamless transitions between themes sometimes
make larger sections difficult to delineate. Like the other sonatas discussed, tonalities
in this work tend to be fluid. However, there is a discernable tonal structure over the
three movements. The outer movements are centered on F, while the middle
movement is largely bitonal, emphasizing both A-flat and D-flat. Thus, the overall tonal
structure can be shown as:
Movement I Allegro moderato
The principal theme section (mm. 1-50) of the Sonatas first movement contains
two ideas, the first of which (P1) introduces two of the defining rhythmic motives used
through much of the work:
xxe (Motive Y) and eee (Motive Z).
18
Ibid., 19-20.
Ibid., 19.
20
Ibid., 52.
19
38
A descent and return
of a whole step is the most common pitch configuration for Motive Y, while Motive Z
usually rises and then falls a major third. (See Example 22)
Motive Y
Motive Z
Example 22 Stevens Sonata motives.
Following the statement of P1 (mm. 1-13) in F major is a small transitional section

which establishes another important motive closely linked to motive X from Kennans
Sonata. (See Example 23) Note that the pitches (C, F, G) of this motive, X1, constitute
motive X, but in Stevens Sonata the melodic contour is also motivic. Motive X will also
appear throughout the work.
Example 23 Motive X1 from Movement I, with component Motive X.
P2 (mm. 14-27), also in F major, presents one more motive for the movement. In
mm. 18-19 the trumpet line rises in thirds, implying an extended tertian harmony. This
rising third motive will appear in both the melody and accompaniment in a variety of
rhythms. Also, while mixed and asymmetric meters are used freely in the first and third
movements, the ties and syncopations in P2 often aurally obscure the written meters.
39
In an extended transition (mm. 33-50), the trumpet line becomes even more
disjunct than the two P themes, but it still retains their character and incorporates Motive
Y three times. Multiple occurrences of Motive X are also present in both melody and
accompaniment.
The secondary theme begins in D minor (the relative minor to the principal
themes F major), supported by a D pedal in the right hand of the piano. In this theme
the trumpet line is still very disjunct but the slurred articulations and drastically slowed
tempo make the melody lyrical. A brief transition incorporating three statements of
Motive X1 leads to the development.
Contrasting with Tuthills and Kennans sonatas, the development from the
Allegro moderato of Stevens Sonata is by far the largest (and most complex) portion of
the movement. Although rhythmically and thematically fluid, the development can be
divided into four sections, the first of which (mm. 72-102) is derived predominantly from
P1 and P2 and contains numerous occurrences of Motives X and Y.
Section 2 (mm. 103-119) employs only the piano and is transitional in nature.
Although it begins with secondary theme material over a C-sharp pedal, P1 continually
interjects until it regains supremacy. The dominance of principal theme material
continues into Section 3 (mm. 120-137) where it becomes even more disjunct and
angular.
40
The final and longest section of the development (mm. 138-176) contains many
different but seamlessly joined ideas, beginning with a false recapitulation in m. 138. P1
returns here in its original key but almost immediately is altered by a meter change,
after which only a general outline of P1 is discernable. Further, as the theme continues
it transitions down a step.
Recapitulation and Codetta (mm. 192-249)
Wallace Berry wrote of Stevens technique, It is characteristic of Stevens

applications of sonata form that stated material undergoes almost constant
amplification, with recapitulation sometimes only suggested.21 This practice is evident
in the Sonatas first movement, where the recapitulation is not only the shortest
segment but it is also stated in reverse order.
The return of the secondary theme (mm. 192-214) begins in F major, maintaining
contours similar to the original statement but with intervallic changes. The theme closes
with muted trumpet presenting Motive X1 twice in succession. P1 immediately follows in
the piano before moving back to the trumpet by m. 221; only a fragment of P2 is stated.
The ensuing transition uses a fragment from Section 1 of the development, reiterating
Motive X in preparation for the codetta.
The closing codetta (mm. 241-249) consists predominantly of perfect intervals in
both the trumpet and piano. Motive X is stated in the melody in m. 245 and it is layered
on top of itself in m. 247. (See Example 24) The movement concludes with a nontraditional but strong cadence (bII7-VII7-I) to an F major chord.
21
Wallace Berry, "The Music of Halsey Stevens," The Musical Quarterly 54, no. 3 (1968): 290.
41
Example 24 Stevens Movement I, mm. 245-249 Codetta with Motive X.
Movement II Adagio tenero
This movement has a somewhat unconventional large-scale form of AA. Within

the first section is a smaller form of Introduction-A-B, while the second section is
Introduction-C-B. It should also be noted that the larger sections are approximately the
same length, dividing the movement into two halves.22 (See Diagram 12 in the
Appendix)
Beginning on octave A-flats, the opening piano chords of the Introduction
gradually expand in contrary motion to arrive at D-flat major (left hand) and A-flat major
(right hand) by m. 3. At this point the contrary motion reverses through m. 6, although
the A-flat-D-flat duality remains. This expansion and contraction in the piano occurs
often throughout the movement.
22
Elliston, 54-55.
42
Theme A (mm. 13-26), stated by muted trumpet, opens similarly to the

Introduction but changes by m. 15. The trumpet begins in A-flat over the pianos tone
clusters, but the two lines converge on E-flat by m. 18.
Motive X returns in the melodic line in theme B (mm. 27-45), which is
characterized by quarter note triplets and its diminution, eighth note triplets. Also
present in the piano (mm. 31-32) is the rising third motive from the first movement.
Although much of the theme is stated over an E-flat pedal, the trumpet line moves freely
from G-flat to D-flat before transitioning back to A-flat for the return of the Introduction.23
The bitonality that characterizes this section is due mostly to the use of the pedal point,
as the piano chords tonally support the trumpet line.
After the restatement of the Introduction with only a few changes, the muted
trumpet states the C theme (mm. 55-68), which consists mainly of the repetition and
transposition of a single idea. (See Example 25) The rhythm is derivative of the quarter
note triplets from B. The piano continues this idea into the following transition to theme
B (mm. 68-89), in which the trumpet has the same melodic line with rhythmic changes.
Starting in m. 78 the B theme changes to bring about the conclusion, which returns the
tonality to A-flat-D-flat.
Example 25 Stevens Movement II, m. 55 Opening of Theme C (trumpet).
23
The three trumpet tonalities of theme B (G-flat, D-flat, A-flat) can be viewed as a large-scale composing
out of Motive X.
43
Movement III Allegro
Set in a complex sonata form (See Diagram 13 in the Appendix), this final
movement opens with a piano Introduction (mm. 1-14) in which arpeggios in the right
hand are punctuated by single notes in the left hand. The 5/8 meter is divided into 2+3
except when Motive Z is stated, in which case the division is 3+2. Although the
introduction begins in F minor, it arrives in F major just before the beginning of the first
theme.
Theme A24 (mm. 15-23) is characterized by brief trills in the trumpet and a rhythm
that is derivative of Motive Z. (See Example 26) Although an F major chord is held
through the first half of the statement, the F minor idea from the Introduction returns
underneath, suggesting bimodality for this first theme.
Example 26 Stevens Movement III, mm. 15-16 Opening of Theme A (trumpet).
Like the first movement of Kennans work, this sonata has three expositional themes. However, they do
not fit into the characterizations of the principal, secondary, and closing themes, so here they will be
labeled A, B, and C.
24
44
The B theme is divided into two related ideas, B1 (mm. 31-38) and B2 (mm. 4247). Although stylistically similar to each other, B1 shifts tonally from C minor to a
modally ambiguous F, whereas B2 is firmly in D-flat major. The short transition between
the two (mm. 39-41) becomes the source for the material in the codetta.
The key of D-flat major continues in the C theme (mm. 50-60), which is
supported by a D-flat pedal in four octaves. This melody is the first in this movement to
exhibit a character and style change; marked dolce, theme C is the most scalar of the
three main ideas, although leaps do still occur.
Like the first movement, the development in this sonata is divisible into sections.
Section 1 (mm. 65-82) opens with trumpet fanfares on Motive X. The remainder of the
section is a transitional piano interlude that, starting in m. 77, reintroduces Motive Z
from the Introduction (and movement I).
Section 2 (mm. 82-106) recalls B1 in C minor, but the tonality moves to the
relative major (E-flat) for B2. The third and final section (mm. 107-126) opens with an
Introduction-like figure in the piano in A-flat minor, and the trumpet enters in m. 111 on
an inverted and rhythmically embellished Introduction figure. Rapid mute changes in
the trumpet also characterize the opening of Section 3. The rest of the section consists
of the retransition to the recapitulation, in which the trilling from Theme A returns and
the trumpet has fanfare-like statements of Motive X.
45
Recapitulation and Codetta (mm. 127-170)
The restatement of the Introduction begins in its original F minor after two
measures of false starts (reminiscent of the false recapitulation in the first movement),
and in this incarnation a trumpet line has been added. Both themes A (presented up a
step) and B1 (now in D major) are shortened; B2 is not restated. C is present but only as
a fragment used in the transition to the codetta.
As mentioned previously, the codetta (mm. 163-170) is comprised of material
originally used as a transition between the two B themes. Now stated in the trumpet,
the material takes on a fanfare quality. And while themes A, B, and C were not stated in
the tonic key in this recapitulation, the codetta does resolve to F by m. 167. From this
point to the end of the movement, elements of both major and minor modes are present
and the final sonority, an F-C dyad, leaves the modality ambiguous.
46
CHAPTER 4
SYNTHESIS AND CONCLUSIONS
All art, regardless of the media, is a product of the time and place in which it is
created. Artists, composers included, cannot help but be affected by what is going
around them. This is particularly true for those working in the post-war years and into
the 1950s. As discussed in Chapter 2, this single decade is an era unto itself, chiefly
characterized by public optimism that was both unprecedented and as yet unduplicated.
This is not to say that all music composed in the 1950s is the same (John Cages 433
was composed in 1953, the same year Halsey Stevens began his Sonata), but the four
American trumpet sonatas created during that time do have much in common. This
chapter will highlight those salient features that are common to all (or at least three) of
the sonatas and then discuss how they are related to 1950s America.
Tonality, Modality, and Intervallic Structures
Even though each of the four composers uses traditional forms (sonata-allegro,
ternary, or rondo), none of them embrace traditional tonality. In general, the harmonic
progressions are formed by linear means, with emphasis placed more on voice leading
than achieving I-IV-V-I. Very often this voice leading involves contrary motion between
47
the left and right hands of the piano (as in the opening of Movement II of Halsey
Stevens Sonata). The other consequence of this linear motion is that themes are often
not in a particular key. A themes tonic is generally just its opening chord, as the tune
will probably deviate from that tonic almost immediately; it may or may not complete its
statement in that key. For example, Kent Kennans C theme (the chorale) of his third
movement is in G throughout, but the secondary theme of his first movement begins in
D minor and ends in A minor.
When modern conventions (such as linearly created tonics) are applied to
traditional forms, the forms cannot possibly remain unchanged. This is most evident in
the recapitulations of the sonata-allegro movements of the trumpet sonatas.
Sometimes the changes are subtle; in Burnet Tuthills recapitulation (movement I), the
S2 theme is not stated. Other works have more drastic alterations. Kennans
recapitulation (movement I), for instance, completely redefines the recapitulation by
simply shifting the entire exposition up a semitone. He leaves the resolution to tonic for
the coda. Halsey Stevens reverses his themes in his recapitulation (movement I),
giving the first movement a large-scale arch form within the sphere of sonata-allegro
form.
Despite all this, it is important to note that tonality is still present in all the
movements of these sonatas. At the time of their composition, all four composers were
writing in the mainstream of American music, meaning they eschewed serialism and
the avant-garde. Thus, even though the themes sometimes meander through multiple
keys and recapitulations do not always act as expected, the movements very often have
48
a full major or minor chord at the conclusion, usually the chord that began the
movement. Only Antheils second movement ends without resolution.
There are occasions, however, when the final sonority of a movement is not as
conclusive as expected. In these cases the movements mode is left in question, either
by stating only a partial chord without a third, only the tonic note in octaves, or by
casting doubt on the final modality prior to the end. The Scherzo in Antheils sonata
closes on a full B-flat minor chord, but the preceding bass note is an F-flat, implying a
diminished sonority. Also, the close of the final movement of Stevens sonata
incorporates elements of both F major (A natural) and F minor (E-flat) before ending on
an open fifth. This modal ambiguity is not limited to cadences, as the principal theme of
Kennans first movement employs three modes in the span of nine measures.
Another trait that the four sonatas share is an abundance of wide intervals and
frequent direction changes in the melodic line. This kind of disjunction is particularly
apparent in the sonatas of Antheil and Stevens. However, both composers also show
that disjunct lines can be lyrical as well as angular. Articulation and tempo play large
roles in determining the character of a melody, as shown in Examples 27 and 28.
Example 27 Stevens Movement I, mm. 62-66 Disjunct/lyrical melody (trumpet).
49
Example 28 Stevens Movement III, mm. 31-36 Disjunct/angular melody

(trumpet).
Finally, the extensive use of perfect intervals, particularly fourths and fifths, is a
unifying factor for all the sonatas. These intervals are prominently featured in a figure
termed Motive X, first introduced in conjunction with Kennans Sonata. Once again,
this motive is comprised of two perfect intervals and a whole step, and it can be stated
horizontally in a melody or vertically in a harmony. As a vertical statement, Motive X is
very often presented as a quartal sonority (pitches stacked in fourths). Further,
because perfect fourths and fifths are inversions of each other, they have the same
function in a sonority.25 Thus, a quintal chord will also include Motive X.
Mentioned previously, Motive X is the foundation for the Kennans entire work,
and it makes numerous appearances in Stevens Sonata as well. In addition, Tuthill
uses Motive X throughout his first movement. In Example 29, note the horizontal
instances of the motive in measures 115, 117, and mm. 117-118. In mm. 115-116 the
left hand chord contains two layered vertical statements of the motive: A-flat, B-flat, Eflat and A-flat, D-flat, E-flat.
25
Howard Hanson, Harmonic Materials of Modern Music: Resources of the Tempered Scale, (New York:
Appleton-Century-Crofts, 1960), 8.
50
Example 29 Tuthill Movement I, mm. 115-118 Melodic and harmonic uses of

Motive X (piano).
Although Antheil does not utilize Motive X in his Sonata, he does use fourths as a
prominent harmonic interval. In the first and last movements, the bass line often
consists of long strings of parallel major chords moving in fourths. In the Scherzo,
Antheil uses fourths on a larger scale. Although the themes tonics are fleeting, they are
related by fourths for the first half of the movement. (See Diagram 6 in the Appendix)
This use of quartal sonorities is, of course, not limited to these trumpet sonatas,
as it was a musical trend for some years before their composition. However, in the
context of a work for trumpet, perfect intervals in a melody are highly reminiscent of
fanfares, invoking the trumpets heritage as an instrument limited to the harmonic
series. Kennan directly links Motive X to fanfares by incorporating it as the fanfare
motive stated in the opening bars of his first movement; the fanfare idea returns muted
for a transition and is then used extensively in the coda.
Dissonance is also very present in each of the sonatas, sometimes in the form of
expanding tone clusters (used by Halsey Stevens in both his first and second
movements), but usually dissonance arrives as a non-chord tone. Antheil especially
51
uses non-chord tones throughout his work to unsettle the major chords that he employs
so frequently. The non-chord tone is usually a semitone away from one of the major
chords pitches.
Rhythm and Meter
Perhaps the most significant feature of these four sonatas is their use of rhythm.
With the exception of Motive X, the unifying figures in these works are primarily
rhythmic. Further, rhythmic alterations to themes are common as developmental
devices. Conceivably the best example of this occurs in the Kennans third movement.
As previously mentioned, the coda uses fragments of the A theme so rhythmically
changed that they are only recognizable by their interval structure. (See Examples 30
and 31) Also, Stevens restates his first movements principal theme at m. 138 in its
original key, but the rhythm has drastically changed to accommodate a new meter, and
the effect is that of a false recapitulation.
Example 30 Kennan Movement III, m. 1 Original opening of Theme A (trumpet).
52
Example 31 Kennan Movement III, mm. 125-127 Rhythmically altered opening

of Theme A (trumpet).
Rhythm is also used as a motor to effect forward motion in some movements.

Antheil, in particular, uses this technique in both his first and third movements. The
principal theme of the first movement states piano arpeggios in eighth notes, the
primary focus being harmonic. However, the constancy of these arpeggios provides
drive beneath the rhythmically slower melody and bass line. The third movement
Scherzo uses a similar technique, but in that movement perpetual sixteenth notes add
to the frenzied character of the tune.
Kennan and Stevens use rhythm in conjunction with meter in innovate ways.
Although Tuthill and Antheil both used asymmetric meters, which was still quite
pioneering for the trumpet repertoire, neither used them to the extent of their later
counterparts. In 1956 Kennan still felt tentative about notating asymmetric meter26,
notating most of his Sonata in traditional 3/4 and 4/4. However, he frequently used
strategically placed accents which effectively altered the perceived meter. In the 1986
revision of the work Kennan incorporated the asymmetric meters he originally intended,
feeling that musicians were more accustomed to reading these meters.27
Stevens had no such reservations about the use of asymmetric meter, and
frequently used several different asymmetric meters in conjunction with each other.
26
As mentioned previously, it is unclear why Kennan was reluctant to use asymmetric meter in the first
movement when he used it numerous times in the third movement.
27
Parsons, 78.
53
Further complicating these sections of mixed meter is the frequent use of ties to create
syncopation. According to Wallace Berry, syncopation of all kinds is a constant
animating force in all of Stevens works, and even when the actual meter signature
remains unchanged there is constant distortion by dynamic stress and asymmetric
grouping.28 These meter changes and uneven groupings of notes give these two
sonatas a vitality that the earlier two works seem to lack. This may be partly
responsible for the greater popularity of Kennans and Stevens works.
Style and the Academic Composer
Although George Antheils Sonata has several commonalities with the other three
trumpet works, it does seem to stand apart from them. Initially unlike the rest by virtue
of its four-movement structure, upon closer inspection one finds that Antheil simply does
not use the features (perfect intervals, changing meter, etc.) to the degree that his
contemporaries do. This is perhaps the best evidence of art being a product of its
culture, as Antheil led a remarkably different career than the other three composers.
Up until the late 1920s George Antheil was a popular avant-garde composer in
Europe, supported by a rich American patron.29 He was an accomplished and
sensationalistic piano recitalist, often performing with a revolver holstered under his
arm. But after the completion of his most famous work, the Ballet Mcanique (1924),
Antheils style gradually began to shift towards the neoclassic mainstream. Although his
28
29
Berry, The Music of Halsey Stevens, 296-297.

Antheils patron was Mrs. Mary Louise Curtis Bok, founder of the Curtis Institute in Philadelphia.
54
patron eventually stopped supporting him, Antheil refused to take a permanent

university position and so earned his living by composing film music.
Antheils contemporaries, on the other hand, were firmly established in
academia. Not only was Tuthill a co-founder of the NASM but he was also a longtime
faculty member at Southwestern College (later renamed Rhodes College) in Memphis,
Tennessee. Halsey Stevens was the Chair of the Composition Department at the
University of Southern California; Kent Kennan, professor at the University of Texas at
Austin, is known throughout the academic music community as the author of two
textbooks.30 Thus, if Antheils Sonata seems to be somewhat removed from the style of
the other three (his formal structures looser, his themes less cohesive), it is arguable
that his avant-garde roots and eschewing of academia are likely causal factors.
Conclusions
Taken together, the four American trumpet sonatas written in the 1950s reflect
their culture in a number of ways. While they are not programmatic in any sense,
Kennan, Stevens, and the others (whether consciously or unconsciously) were
encapsulating a specific time and place via their works.
Most noticeable are the sonatas persistent and energetic rhythms, which flavor
the works with both the optimism and forward motion that characterize the decade.
Further, their reliance on fourths and fifths is indicative of the American sound. Sought
after by composers for several decades, the enigmatic American idiom is usually
attributed to Aaron Copland, whose penchant for perfect intervals seemed to evoke both
30
The Technique of Orchestration and Counterpoint Based on Eighteenth-Century Practice
55
the wide open spaces and expanding cities of the diverse nation. Although melodic and
tonal, the four sonatas are also angular and dissonant, suggesting a sanguine but
disjointed era.
In his essay The Composer Seeks a Style Halsey Stevens says, It is easy to
decide that since Webern, Hindemuth [sic], Milhaud, Hba, and John Cage pursue
utterly dissimilar paths, there is no common ground in this music. But if the work of
these composers and their contemporaries is examined in its chronological sequence, it
may be seen that each of them is an outgrowth of what we call the mainstream of
music, and that in the perspective of time most of them appear to be rather closely
related.31 While he also voiced his opposition to the avant-garde experiments of some
of his contemporaries, he nevertheless acknowledged that it had the same ancestry as
his own work: the mainstream of music that exists on an unbroken continuum.
The four trumpet sonatas discussed here are not only part of that mainstream,
but they also exist as part of the solo trumpet repertoire, and it is in that capacity that
they are most essential. Jumpstarted by the NASM commissions, these works
represent some of the first additions to the repertoire since the Baroque era. As John
Haynie, professor emeritus of trumpet at the University of North Texas, puts it, these
works represent a transitional time for trumpet music, as it gradually moved away from
the cornet solo. Haynie noted that one of the biggest changes (and challenges) these
pieces represented was their length: most cornet solos were only five minutes long,
whereas the new sonatas were two or three times that length.
As stepping stones (as Haynie called them) from the cornet solo to modern
trumpet music, these four sonatas are largely responsible for a resurgence in writing for
31
Halsey Stevens, The Composer Seeks a Style, Music Journal (October 1954): 48.
56
trumpet since the 1950s. Numerous works for solo trumpet in both large and small
forms now exist for both students and professionals alike, including Thomas
Beversdorfs Sonata for Trumpet and Piano (1963), more modern works like Eric
Ewazens Sonata for Trumpet and Piano (1997), and dozens more American and
international works. In summing up the sonatas by George Antheil, Kent Kennan,
Halsey Stevens, and Burnet Tuthill, Haynie perhaps puts it best, The pieces are
representative of where we were in our musical growth, and hopefully this music will not
ever be put down.32
32
John J. Haynie, interview by author, mini-disc recording, Denton, Texas, 2 May 2007.
57
APPENDIX
58
NOTE
Each diagram in the Appendix shows the formal structure of one movement from
a trumpet sonata. This structure is shown using four main strata of information. The
first level, at the top of each page, delineates the largest sections of the movement
(Exposition in sonata-allegro movements or A in rondos, for example). The numbers
in the second level refer to the starting measures of themes, tonal centers, or other
important sections of the movement. In some movements, a third level shows thematic
areas. The lowest level on each diagram shows tonality and modality. Themes or
sections that begin in a key but quickly become unstable will be labeled with a key in
parentheses.
In order to accommodate proportional concerns and spatial constraints, several
abbreviations are used throughout the Appendix. The Retransition heading of sonataallegro movements is always abbreviated (as Retrans. or Ret.), as it is a very small
section of music. Further, sonata-allegro themes are listed as P (principal theme), T
(transition), S (secondary theme) and K (closing). K is used so it is not confused
with C, which is frequently used in other musical contexts. Also, a major tonality is
indicated with an uppercase M; minor tonalities use the lowercase.
59
Exposition
Development
Retrans.
101
106
127
133
P, S1
S1
24
29
48
70
S1
S2
S2
(DbM)
Recapitulation
(DbM)
Burnet Tuthill's Sonata for Trumpet and Piano, Op. 29

Movement 1 - Allegro ben marcato
Diagram 1
60
Coda
153
161
E bM
17
F dorian
59
Bbm
F dorian

Movement II - Slowly-Vivace
Diagram 2
61
A
1
Bb dorian
T
27
Interlude
A'
A''
Codetta
35
49
72
77
96
116
128
145
Gm
Am
G
Bb dorian
Gb
BbM
BbM

Movement III - Rondo
Diagram 3
62
Exposition
1
Intro
12
--- P ---
b
b
(CM) (CM) (A M) (D M)
Development
16 22
T
36 42
61
Section 1
T (Intro)
Intro
S
(GM)
70
75
Section 2
P
Intro
Retrans.
81 84
94
Section 3
(P)
(Ebm, Abm) (EbM) (Dbm)
George Antheil's Sonata for Trumpet

Movement I - Allegretto
Diagram 4
63
Recap.
99
110
S
(CM)
CM
A
1
14
(FM)
(DbM)
Trans.
30
Trans.
A'
38
50
54
77
(CM)
CM
(FM)
DM-Ab7

Movement II - Dolce-espressivo
Diagram 5
64
A
1
b
(B m)
T1
5
B
11
(FM)
T2
15
A'
18
(Cm)
T3
22
C
25
(G)
T4
28
A''
31
T5
35 36
(Dm)
A''' T6
40
44 46
(Bbm)

Movement III - Scherzo
Diagram 6
65
T1
50
B
56
Coda
60
b
(FM) (B m)
67
Bbm
T1
(CM)
FM
B
11
A'
23
T1
30
B'
33
Interlude
41
A''
55
(CM)
T2
71
C
77
(CM)

Movement IV - Allegretto
Diagram 7
66
T3
96
A
106
(CM)
Coda
112
121
CM
Exposition
1
10
26
--- P --Eb
Eb-E A-F
37
T
Dev.
49
55
--- S ---
Fm Dm
Am
63
85
K
Eb-F Bb
Recapitulation
102
114
--- P --F
Bb
125
T
Trans
137 143 151 163

--- S ---
Gbm Ebm Bbm E-F# Ebm
Kent Kennan's Sonata for Trumpet and Piano

Movement I - With strength and vigor
Diagram 8
67
T'
Coda
179 182 189 200 210
S
P
Db
E bM E b
Intro
Gm
T1
15
T2
A'
20
41
44
51
C#
56
Gm

Movement II - Rather slowly and with freedom
Diagram 9
68
T1'
66
Coda
69
CM
A'
15
27
33
47
b
(B m)
Eb
Ab
(Am)
Gm
A''
57 57
GM (Gm)
B'
71
79
C'
T1
82 90
69
Coda
103 103 111 117 122 131 141 143
b
b
B m B M

Movement III - Moderately fast, with energy
Diagram 10
A'''
T2
Ab
Bb
Exposition
1
14
33
51
P1
P2
FM
FM
Dm
Development
Retran.
72
103
120
138
177
Section 1 Section 2 Section 3 Section 4
(P1, T)
(P1, P2)
(S, P1)
(P1)
P1'
C#
(FM)
Recap.
192 215
S
P1
FM FM
Halsey Stevens' Sonata for Trumpet and Piano

Movement I - Allegro moderato
Diagram 11
70
Trans. Codetta
226 230
P2
FM
241 249
(Sec. 1)
FM
A
1
13
Intro
AbM
DbM
18
A'
27
-- A -Ab
Eb
41 43
-- B --
Intro
55
68
82
-- B' --
Gb,Db
Ab AbM
Gb,Db
AbM
Eb
Db DbM
Eb
DbM

Movement II - Adagio tenero
Diagram 12
71
Exposition
1
14 15 18
Intro
-- A --
Fm FM FM FM/m
22 31
T
Development
37 42
-- B1 -- B2
Cm F
50
C
DbM DbM
65
Sect. 1
82 91
Sect. 2
B1 B2
b
Cm E M
107
Sect. 3
(Intro)
Ret.
118
Recapitulation Codetta
127
Intro' A'
B1'
Fm

Movement III - Allegro
Diagram 13
72
138 151 155 163 167
C'
F
WORKS CONSULTED
Antheil, George. Bad Boy of Music. Garden City, NY: Doubleday, Doran & Company,
1945.
________. Sonata for Trumpet. New York: Weintraub Music Company, 1953.
Berry, Wallace. The Music of Halsey Stevens. The Musical Quarterly 54, no. 3 (July
1968): 287-308.
Caputi, Mary. A Kinder, Gentler America: Melancholia and the Mythical 1950s.
Minneapolis: University of Minnesota Press, 2005.
Crawford, Richard. Americas Musical Life: A History. New York: W.W. Norton &
Company, 2001.
Elliston, Ronald Robert. An Analysis of the Trumpet Sonatas of Kent Kennan and
Halsey Stevens: Models for Instruction. D.M.A. diss., University of Oregon,
1978.
Fleet, Susan. Edna White Chandler: A Brasswoman Pioneer. Women of Note
Quarterly 2, no. 4 (November 1994): 7-12.
Hanson, Howard. Harmonic Materials of Modern Music. New York: AppletonCentury-Crofts, Inc., 1960.
Haynie, John J., professor emeritus of trumpet at the University of North Texas.
Interview by author, 2 May 2007. Mini-disc recording. Denton, Texas.
Kennan, Kent. Sonata for Trumpet and Piano. n.p., 1956.
Parsons, Laura Elizabeth. Kent Wheeler Kennan: American Composer and Music
Educator. D.M.A. diss., University of North Carolina at Greensboro, 1998.
Pisk, Paul A. Halsey Stevens. American Composers Alliance Bulletin 4 (1954-1955):
2-11.
Raines, Jean Lee. Burnet C. Tuthill: His Life and Music. Ph.D. diss., Michigan State
University, 1979.
Salamone, Frank A. Popular Culture in the Fifties. Lanham, Maryland: University
Press of America, 2001.
Sowerby, Leo. Sonata for Trumpet and Piano. With an introduction by Burnet C. Tuthill.
Chicago: Gambled Hinge, 1948.
73
Stevens, Halsey. The Composer in Crisis, in Three Lectures, 16-25. Denton,

Texas: North Texas State University, 1969.
________. The Composer Seeks a Style. Music Journal (October 1954): 49, 52.
________. Sonata for Trumpet and Piano. New York: C. F. Peters Corporation, 1959.
Toering, Ronald. A Comparison of Donald Whites Sonata for Trumpet and Piano with
the Trumpet Sonatas of Paul Hindemith and Kent Kennan. NACWPI Journal
37, no. 3 (Spring 1989): 4-21.
Tuthill, Burnet Corwin. A Modest Autobiography. The Clarinet 3, no. 4 (August 1976):
10.
_________. Sonata for Bb Trumpet and Piano, Op. 29. n.p.: Warner Bros., 1951.
Whitesitt, Linda. The Life and Music of George Antheil 1900-1959. Ann Arbor,
Michigan: UMI Research Press, 1983.
74

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THE AMERICAN TRUMPET SONATA IN THE 1950S: AN ANALYTICAL AND

SOCIOHISTORICAL DISCUSSION OF TRUMPET SONATAS BY

Dissertation Prepared for the Degree of

UNIVERSITY OF NORTH TEXAS

Dearden, Jennifer Lorien. The American trumpet sonata in the 1950s: An

AMERICA AND AMERICAN MUSIC IN THE 1950s ................................ 7

THEORETICAL ANALYSIS OF THE TRUMPET SONATAS OF TUTHILL,

SYNTHESIS AND CONCLUSIONS....................................................... 47

LIST OF MUSICAL EXAMPLES

Tuthill Movement I, mm. 1-2 Opening motives .............................................. 14

Tuthill Movement I, mm. 29-31 Opening of S1 theme .................................... 14

Tuthill Movement I, mm. 48-49 Opening of S2 theme .................................... 15

Tuthill Movement I, mm. 84-87 Rhythmic motive variants ............................. 15

Tuthill Movement I, mm. 101-103 Transition to Recapitulation ...................... 16

Tuthill Movement II, mm. 46-48 B theme....................................................... 17

Tuthill Movement III, mm. 16-18 Trumpet fanfare.......................................... 18

Antheil Movement II, mm. 1-4 Opening of Theme A...................................... 22

Antheil Movement II, mm. 38-39 Theme B .................................................... 23

Antheil Movement III, mm. 1-4 Theme A ....................................................... 24

Antheil Movement I, mm. 26-30 Secondary theme........................................ 26

Antheil Movement IV, mm. 1-6 Theme A ....................................................... 26

Antheil Movement IV, mm. 77-78 Theme C opening ..................................... 27

Kennan Movement I, mm. 1-9 Principal theme opening ................................ 29

Kennan Movement I, mm. 163-164 Motive X in transition ............................. 31

Kennan Movement I, mm. 37-41 Original transition theme............................ 32

Kennan Movement I, mm. 170-173 Altered transition theme......................... 32

Kennan Movement I, mm. 204-206 Final trumpet fanfare ............................. 33

Kennan Movement II, mm. 22-26 Opening of Theme B ................................ 34

Kennan Movement III, mm. 1-7 Opening of Theme A ................................... 35

Stevens Sonata motives .................................................................................. 39

Motive X1 from Movement I, with component Motive X.................................... 39

Stevens Movement I, mm. 245-249 Codetta with Motive X ........................... 42

Stevens Movement II, m. 55 Opening of Theme C........................................ 43

Stevens Movement III, mm. 15-16 Opening of Theme A............................... 44

Stevens Movement I, mm. 62-66 Disjunct/lyrical melody .............................. 49

Stevens Movement III, mm. 31-36 Disjunct/angular melody.......................... 50

Kennan Movement III, m. 1 Original opening of Theme A ............................. 52

Kennan Movement III, mm. 125-127 Rhythmically altered opening of Theme A

Background and Significance

The post-war era in America is often viewed as a time of unbridled optimism

History and Social Trends

American Music and the Academic Composer

Burnet Tuthills Sonata for Bb Trumpet and Piano, Op. 29

As mentioned previously, Burnet Tuthill (1888-1982) chaired the first series of

at the twenty-fifth anniversary meeting of the National Association of Schools of Music

Movement I Allegro ben marcato

While Tuthill is generally traditional about the sonata-allegro structure of this

Exposition (mm. 1-69)

Further, the accompaniment is often intervallically dense and is regularly dissonant

Example 1 Tuthill Movement I, mm. 1-2 Opening motives.

Example 2 Tuthill Movement I, mm. 29-31 Opening of S1 theme (trumpet).

Example 3 Tuthill Movement I, mm. 48-49 Opening of S2 theme (piano).

Example 4 Tuthill Movement I, mm. 84-87 Rhythmic motive variants (trumpet).

Example 5 Tuthill Movement I, mm. 101-103 Transition to Recapitulation.

Recapitulation and Coda (mm. 106-161)

Example 6 Tuthill Movement II, mm. 46-48 B theme (trumpet).

Theme A returns in m. 59 and it is nearly identical to the initial presentation. The

Movement III Rondo