Signaling © C.K

Total Page：16

File Type：pdf, Size：1020Kb

Signaling © C.K. Ruppelt, 2018 A full legion had four different types of specialists carrying brass All specialists were specifically trained legionaries. The horn blower instruments depending on their uses. positions were highly sought after since the men received double-pay like the standard bearers and were excused from menial labor (camp The buccina, used by a legionary buccinator building and digging). A long tube of ten to twelve feet, bent into a circle that ends with a forward-looking flare above the blower’s head, with an angled bar across the bend diameter for stability and as handle. Its appropriate use was the announcement of watch changes while in camp, and the call for all soldiers to gather under the authority of the executive officer. The cornu, used by a legionary cornicen Very similar to the buccina in looks. Was exclusively used to signal all troops in battle (in combination with the raising and lowering of standards), and so had a different repertoire. The tuba, used by a legionary tubicen A straight horn, three to four feet long. Exclusively used in battle and in concert with the cornu. The tuba players, or tubicen, were located within the cohorts and centuries, and let the specific divisions know which commands from the cornu were meant for them. The lituus, used by an auxiliary liticen Part of Trajan’s column in Rome showing two buccina or cornu players in civilian clothes, with two tuba players standing behind. Another straight horn of similar length to the tuba, but with a bend at the outgoing side, giving it the shape of the letter “J.” It was the cavalry’s instrument for transmitting battle field calls. .

Copy Link

Recommended publications

Perspectives on the American Concert March in Music Education Robert Clark
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies.
[Show full text]
Newsof the Field
NEWSOF THE FIELD Compiled by Jeffrey Nussbaum If you have news of concerts, publications, recordings, symposia, or workshops, please send notices to :Historic Brass Society, 148West 23 Street #2A, New York, NY 10011 USA (212) 627-3820. Baroque Trumpet Mutes Fred Holmgren is now making wooden Baroque trumpet mutes. Two models are currently available: one is a copy of the mute in the Historical Museum, Basel, as pictured in Altenburg's Trumpeters' and Kettledrummers' Art. The second is modeled after an anonymous example in the collection of Franz Strietwieser. The Base1 mute raises the pitch one semi-tone, and the Anonymous model raises the pitch two semi- tones, the whole step mentioned in the Altenburg description. This mute enables players to play, for example the morning hymn "Aus meines Herzengrunde," which includes a trumpet in E and two trumpets in D con sordino. For information contact: Fred Holmgren, 1139 Chestnut Street, Athol, MA 0133 1, Phone: (508)249-5174. Horn Symposium The 1991 International Horn Symposium celebrated the 23rd year of the International Horn Society's biggest event. Over 350 horn teachers, and horn lovers (including actor David Ogden Stiers!!) attended the event at the University of North Texas in Denton, May 12-19, 1991. Historical instruments were well-represented in performances by Michel Garcin-Marrou (London Classical Players, among others). Javier Bonet- Manrique (firstprize, 1990 International Horn Competition), and JackMasarie (Univer- sity of North Carolina- Greensboro), performing M.Haydn, Concertino for Horn and Trombone. Exhibitors of natural horns included Paxman and Engelbert Schmid (Germany). Roland Homath of the Vienna Philharmonic gave a remarkable perfor- mance on the traditional Wiener Pumpen-horn.
[Show full text]
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
[Show full text]
Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages
[Show full text]
From the Cave to the Rave Act 1 Miriam Andersén & Ensemble Mare Balticum (Ute Goedecke, Per Mattsson, Tommy Johansson, Dari
From the Cave to the Rave Act 1 Miriam Andersén & Ensemble Mare Balticum (Ute Goedecke, Per Mattsson, Tommy Johansson, Dario Losciale, Stefan Wikström, Fredrik Persson and guests). Prehistoric Soundscapes: ancient voices and bodies, along with horns, whistles, pipes, rattles, scrapers, bull-roarers and other weird sound-tools enliven the landscapes of prehistoric Europe. Barnaby Brown From Hohle Fels to the Highlands_ part 1: postcards of a travel into time and space, surfing on the sound waves of single-, double- and triple-pipe, from Paleolithic caves to the end of the 1st Millennium. John & Patrick Kenny Mighty Voices of Bronze and Power_ part 1: Celtic and Etruscan symbols of the highest rank, the long trumpets known as carnyx, lituus and cornu finally are singing again, after a very long silence. Kēlēthmós (Roza Poulimenou, Callum Armstrong, Stefan Hagel) The Art of the Muses: resurrected lyres and double-pipes together with the oldest readable melodies bring alive echoes of the music culture that gave rise to Western literature. Auloi/Tibiae Team (Barnaby Brown, Stefan Hagel, Cristina Majnero, Roberto Stanco, Olga Sutkowska and guests) The Workshop of Dionysus: the first organic homegrown team of scholars and musicians who are experimenting on actual reproductions of ancient Greek and Roman double-pipe reed instruments. Act 2 John & Patrick Kenny Mighty Voices of Bronze and Power_ part 2: Celtic and Etruscan symbols of the highest rank, the long trumpets known as carnyx, lituus and cornu finally are singing again, after a very long silence. Ludi Scænici (Gaetano Delfini, Daniele Ercoli, Cristina Majnero, Mirco Mungari, Roberto Stanco) Sound Pictures from Ancient Rome: glimpses of Roman games and ceremonies, frames taken from the Latin comedy and also some insight on the popular music performed at that time.
[Show full text]
{PDF} Trumpet/Cornet
TRUMPET/CORNET PDF, EPUB, EBOOK Richard Duckett | none | 28 Feb 2002 | FABER & FABER | 9780571528172 | English | London, United Kingdom What Is The Difference Between A Trumpet And A Cornet? The earliest examples of trumpet-like instruments date back to BC. Back then they were used for signaling during battle or a hunt. Brass is made by mixing zinc and copper. It offers a number of benefits that make it ideal for use in wind instruments. For one, it produces rich tones. If copper were used instead of brass, the trumpet would produce a dead sound. Another reason is that brass is easy to mold. The complex shape of these instruments requires a metal that can easily be shaped into intricate components. While being malleable, it also needs to be tough enough to withstand heavy use. As an alloy, brass is a fortified metal that can withstand a beating. When you see a trumpet with 4 valves, it is most likely a piccolo trumpet. The piccolo is the smallest instrument in the trumpet family. It has only half the tubing as the regular trumpet and is pitched an octave higher. This is not to be confused with the pocket trumpet, which is also smaller, but pitched in the same key as the regular trumpet. The fourth valve lowers the pitch by a fourth, which extends the low range of the piccolo. It also gives you alternate fingerings and improves the intonation for some notes. There are a number of differences between the french horn and the trumpet. The most obvious are immediately apparent just from looking at them.
[Show full text]
Evolution of the Modern Trumpet (Pdf)
EVOLUTION OF THE MODERN TRUMPET A PRESENTATION OF THE TEARNS COLLECTION FALL 2012 HILL AUDITORIUM LOWER LOBBY CONCEPT & DESIGN BY: ERIC HARTZ, CURATOR RON BERNDT, BRASS & SCHOOL MUSIC CONSULTANT DIRECTOR OF THE COLLECTION: DR. STEVEN BALL EVOLUTION OF THE MODERN TRUMPET The following presents the instruments, the narra ve descrip ons, and the graphics that were displayed in the lower lobby of the University of Michigan’s Hill Auditorium from the fall of 2012 through the fall of 2014 in conjunc on with celebra ons of the 100th anniversary of Hill Auditorium celebrated during the 2012-2013 school year. The exhibit, and the accompanying lifelong learning lecture February 27th 2013, were a joint produc on of the School of Music Theater and Dance, The Friends of the Stearns Collec on, and the Stearns staﬀ and volunteers . EVOLUTION OF THE MODERN TRUMPET PRE-CURSORS: ANCIENT TIMES TO 1830 Ancient peoples sounded alarms and celebrated holidays using improvised aerophones such as the ancient Hebrew shofar. Usually made of animal horn or shell, these were the first trumpets. Trumpets of this type abound in history and legend. The Greek god Triton is said to have stirred and calmed the waves by blowing a trumpet and Joshua’s trumpets were said to have leveled the walls of ancient Jericho. Moreover, trumpets appear to have evolved separately, but in parallel in cultures across the globe. Shown above: Wikipedia image of a traditional Hebrew shofar made of ram’s horn. EVOLUTION OF THE MODERN TRUMPET PRE-CURSORS: ANCIENT TIMES TO 1830 Instrument images from the Stearns on-line database copyright University of Michigan, all rights reserved.
[Show full text]
The Evolution of the Bugle
2 r e The evolution t p a h C of the bugle by Scooter Pirtle L Introduction activity ponders how it will adapt itself to the ceremonies, magical rites, circumcisions, When one thinks of the evolution of the future, it may prove beneficial to review the burials and sunset ceremonies -- to ensure bugle used by drum and bugle corps, a manner by which similar ensembles that the disappearing sun would return. timeline beginning in the early 20th Century addressed their futures over a century ago. Women were sometimes excluded from might come to mind. any contact with the instrument. In some While the American competitive drum and A very brief history of the Amazon tribes, any woman who even glanced bugle corps activity technically began with trumpet and bugle at a trumpet was killed. 2 Trumpets such as the American Legion following the First through the 18th Century these can still be found in the primitive World War (1914-1918), many innovations cultures of New Guinea and northwest Brazil, had already occurred that would guide the L Ancient rituals as well as in the form of the Australian evolution of the bugle to the present day and Early trumpets bear little resemblance to didjeridu.” 3 beyond. trumpets and bugles used today. They were Throughout ancient civilization, the color Presented in this chapter is a narrative on straight instruments with no mouthpiece and red was associated with early trumpets. This important events in the evolution of the no flaring bell. Used as megaphones instead could probably be explained by the presence bugle.
[Show full text]
006-013, Chapter 1
trumpeteers or buglers, were never called bandsmen. They had the military rank, uniform and insignia of a fifer, a drummer, a d trumpeteer or a bugler. d Collectively, they could be called the fifes l l & drums, the trumpets & drums, the drum & bugle corps, the corps of drums, the drum e e corps, or they could be referred to simply as i the drums in regiments of foot or the i trumpets in mounted units. f f Since the 19th century, the United States military has termed these soldier musicians e the “Field Music.” This was to distinguish e them from the non-combatant professional l l musicians of the Band of Music. The Field Music’s primary purpose was t t one of communication and command, t whether on the battlefield, in camp, in t garrison or on the march. To honor the combat importance of the Field Music, or a a drum corps, many armies would place their regimental insignia and battle honors on the b drums, drum banners and sashes of their b drum majors. The roots of martial field music go back to ancient times. The Greeks were known to e have used long, straight trumpets for calling e Chapter 1 commands (Fig. 1) and groups of flute players by Ronald Da Silva when marching into battle. h h The Romans (Fig. 2 -- note the soldier When one sees a field performance by a with cornu or buccina horn) used various t t modern drum and bugle corps, even a unit as metal horns for different commands and military as the United States Marine Drum & duties.
[Show full text]
PDF Download All About Trumpet Ebook, Epub
ALL ABOUT TRUMPET PDF, EPUB, EBOOK Jonathan Harnum | 169 pages | 01 Apr 2008 | Hal Leonard Corporation | 9781423422426 | English | Milwaukee, United States All About Trumpet PDF Book By BC, trumpets were being crafted to high standards across the world in Africa, Europe and Asia from sheets of silver and bronze metal. Its practice has been around since BC. I hope, my article was capable of providing the most important facts about a trumpet in a glance. When users buy our independently chosen editorial He has given talks on debunking pseudoscience, the Dunning-Kruger effect, culinary technique, and traveling. How It's Made The trumpet has a cylindrical bore, which means that the tubing stays about the same size for most of the length of the instrument until it flairs at the end, forming a small bell. High-Quality brass gets better with time, and if you leave it long enough, there 'd a Updated March 04, Trumpet-Player in front of a Banquet , Gerrit Dou, c. All content from Kiddle encyclopedia articles including the article images and facts can be freely used under Attribution-ShareAlike license, unless stated otherwise. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. The main tuning slide needs to be kept greased in order to be used effectively. One of the first things I noticed was how light it was — which is actually quite smart for student horns. Some of these may seem a little wild and weird to you, but those will surely surprise you.
[Show full text]
The Brass Instrument Collection of the Metropolitan Museum of Art in New York
113 THE BRASS INSTRUMENT COLLECTION OF THE METROPOLITAN MUSEUM OF ART IN NEW YORK HERBERT HEYDE The Metropolitan Museum of Art houses a large, comprehensive collection of musical instruments. Managed by one of seventeen curatorial departments, the Musical Instruments Department, it contains approximately 4,500 instruments. Roughly forty percent of them are of western, the rest of non-western origin. The Egyptian, Islamic, Arms and Armor, Medieval Departments, and a few other departments, house some additional instruments. Another resource consists of iconographic representations of musical instruments that are to be found in almost all departments. They are included in The Performing Arts Index of RIdIM.1 The western brass, or “lip-vibrated” instruments of the Musical Instruments Department amount to only 283 items—an indication that this ﬁ eld was never a priority of the museum’s collecting activities. The basis of The Metropolitan Museum of Art musical instruments collection was provided by Mary Elisabeth Adams Brown (1842-1918), who donated her collection from 1889 in successive installments in the name of her husband, John Crosby Brown. Beginning with 276 instruments in 1889, the gift ultimately amounted to more than 3400 items in 1918. To be precise, before Brown’s donation there was already a collection of forty-four instruments in the museum, given by Joseph William Drexel (1833-1888), a wealthy amateur musician and philanthropist in New York. The Brown family, of British origin, engaged in international banking and graciously supported American culture, including education and theology. Besides musical instruments, Mrs. Brown collected lace, embroidery, and portraits of musicians, which are now kept in the Prints and Drawings Department of The Metropolitan Museum of Art.2 A few years after the Crosby Brown collection began to arrive in 1889, the museum provided gallery space for its public display.
[Show full text]
2017 (September) Bulletin
CIMCIM Bulletin September 2017 CONTENTS Gabriele Rossi Rognoni: President’s message . 3 ARTICLES Arnold Myers: Information Preservation for Musical Instruments – Keynote from the Annual Conference . 4 Panagiotis Poulopoulos: Musical Instruments at the Museé d’art et d’histoire in Neuchâtel . 9 THE 2017 CIMCIM MEETING: BASEL AND BERN Zarah Habibizad and Jennifer Schnittker: CIMCIM Meeting in Switzerland – Travel Grant Report . 12 Minutes of the General Assembly . 16 Margaret Birley: Report of the CIMCIM Working Group for Classification for 2016–2017 . 21 NEW DISPLAYS Bradley Strauchen-Scherer: A Fanfare marks the opening of the first of the Met’s renovated musical instrument galleries . 23 Robert Adelson Permanent Exhibition of the Camac Harp Collection . 26 TEMPORARY EXHIBITIONS AND CONFERENCES Isabel Münzner: On it Ticks! The Basel Exhibition “Up Beat! Metronomes and Musical Time” . 27 Sascha Wegner: Private Passion – Public Challenge. Collecting Musical Instruments Then and Now International Conference, 9–11 May 2017, Germanisches Nationalmuseum, Nuremberg . 29 Kathleen Wiens Our Canada, my Story. The Canadian Museum for Human Rights, March – September 2017 . 33 New Books . 35 Upcomong Events . 37 Appendix: Frank P. Bär: Membership consultation . 38 DEADLINE FOR THE NEXT BULLETIN: 15/1/2018 Editor: Heike Fricke [email protected] 3 Gabriele Rossi Rognoni PRESIDENT’S MESSAGE Dear CIMCIM Members, will be particularly important over the next years, It is a great pleasure for me to open this Autumn when CIMCIM will meet for the first time
[Show full text]