Announcing Volume Seven (1994) Selected Articles (Spring and Fall Issues)
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The Artistic Merits of Incorporating Natural Horn Techniques Into Valve Horn Performance
The Artistic Merits of Incorporating Natural Horn Techniques into Valve Horn Performance A Portfolio of Recorded Performances and Exegesis Adam Greaves Submitted in fulfilment of the requirements for the degree of Master of Music Elder Conservatorium of Music Faculty of Humanities and Social Sciences University of Adelaide March 2012 i Table of Contents Abstract i Declaration ii Acknowledgements iii List of Figures iv Recital Programmes 1 Exegesis Introduction 2 Recital One 4 Recital two 11 Conclusion 25 Appendix: Concert Programmes Recital One 26 Recital Two 30 Bibliography 34 Recordings Recital One Recital Two ii Abstract The dissertation addresses the significance of how a command of the natural horn can aid performance on its modern, valve counterpart. Building on research already conducted on the topic, the practice-led project assesses the artistic merits of utilising natural horn techniques in performances on the valve horn. The exegesis analyses aesthetic decisions made in the recitals – here disposed as two CD recordings – and assesses the necessity or otherwise of valve horn players developing a command of the natural horn. The first recital comprises a comparison of performances by the candidate of Brahms’ Horn Trio, Op.40 (1865) on the natural and valve horns. The exegesis evaluates the two performances from an aesthetic and technical standpoint. The second recital, while predominantly performed on the valve horn, contains compositions that have been written with elements of natural horn technique taken into consideration. It also contains two pieces commissioned for this project, one by a student composer and the other by a professional horn player. These two commissions are offered as case studies in the incorporation of natural horn techniques into compositional praxis. -
The Alphorn in North America: “Blown Yodeling” Within a Transnational Community
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-6-2021 The Alphorn in North America: “Blown Yodeling” Within A Transnational Community Maureen E. Kelly CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/682 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Alphorn in North America: “Blown Yodeling” Within A Transnational Community by Maureen E. Kelly Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Music, Hunter College The City University of New York 2021 01/06/2021 Barbara Hampton Date Thesis Sponsor 01/06/2021 Barbara Oldham Date Second Reader CONTENTS CHAPTER I: Meeting the North American Alphorn Community 1 1. Structure of Research 2. Data Gathering 3. Studying the Alphorn a. The History of the Alphorn b. Imagined Communities and Identity c. Cultural Tourism d. Organology CHAPTER II: “Auslanders:” Travels to Switzerland 8 1. Bill Hopson 2. Laura Nelson 3. Gary Bang CHAPTER III: Establishing North American Alphorn Schools 31 1. Utah 2. West Virginia 3. The Midwest CHAPTER IV: “We All Serve the Same Master:” The Alphorn Trade 49 CHAPTER V: An Instrument of Kinship 69 Bibliography 75 LIST OF ILLUSTRATIONS Bill Hopson in Frauenfeld 12 Harmonic Series 13 Excerpt, Brahms Symphony no. 1 in c minor 13 Albumblatt für Clara Schumann 14 Excerpt, Mozart Concerto no. -
List of Period Horn Makers For
List of period horn makers Alexander www.gebr-alexander.de Germany Classical horns: • Model 194 - natural horn in F (€3.050) with “combination crooks” (a modern variation on the cor solo) to make E, E flat, D, C and B flat basso. • Model 290 natural horn based on a Halari (original in the private collection of Joachim Pöltl of the WDR Köln). NB. Instruments built at A440. Berkeley Wind - www.berkeleywind.com USA “Berkeley Concertino” natural horn, comes with either five crooks (A, G, F, E flat and D) and a “half tone slide”. Birch Music Services - www.gerrybirch.co.uk UK. "Scherzo" hand horn with four crooks D, E flat, E and F. "An amazing inexpensive "entry level" hand horn for those players who wish to develop hand technique skill without paying thousands of pounds” Anthony Halstead.) Clark Brass Instruments - www.naturallyhorns.co.uk Canada. Classical horn: • Natural horn with Viennese or Bohemian bell. Corpus plus master crook and coupler system. Clark produces a master crook and coupler system (C alto, B flat alto, F plus five couplers) which covers the range from C alto to B flat basso Baroque horn: • Details available on request. NB: Clark’s approach to horn making is very much based on his interest in custom design or variations on his previous designs and his experience as a leading natural horn player. He enjoys making things to request stating that “bore, valves (or not), bell size / shape, design can all be tailored to need”. Recent projects have included valve horns, a German style hand horn with a detachable valve block for playing as a single horn in B flat or F, English style baroque horns, a compensating double horn (with the specific aim of improving the F side). -
The Noble Trumpet and Other Brass Instruments
OOK WORLD B Boekwêreld • Ilizwe Leencwadi a castle where walking sticks are common), even those who once Fanus often joked that his epitaph should read: ‘Nou is hy dood- were famous. ernstig’ (Now he is dead serious). Like all brilliant humourists, he It happened like this: I was asked to review Tien uit tien: stories seemed to have a need to be taken seriously, even if only once in en sêgoeters van Fanus Rautenbach (Tafelberg, 2010), a collection a while - for instance, Peter Sellers revealed that he wanted to be of stories by Fanus, edited by Danie Botha - which I did. I thought a serious actor. Imagine that! And most humourists suffered from nothing of it, except that he wrote some really good, original stories depression - humour is a ‘laugh with a tear’. But there was never and implemented unusual techniques. any evidence that Fanus Rautenbach was Then Botha asked me to visit the old man, who was pining for at- depressed, ever. Hopefully not too lonely tention. This was just before Christmas 2010. I was busy; could not either. even go out to Fanus maintained that humour Vredenburg to visit my Tiesj is one of two autobiographical is more than just cracking jokes. own mother. An acquaint- works by Rautenbach, the other being ance called. She would Fanus onthou en Sebastian lieg in die It is really about observing, set up a meeting. A coffee mou (met Piet Coetzer, Lapa, 2009). about knowing your subject shop near the ‘kieriekas- material, namely people. The teel’ in Claremont. Two With acknowledgement to Bolander. -
Foreword It Is the Mouthpiece Which Provides the Vital Connection
Foreword It is the mouthpiece which provides the vital connection between the musician and his or her wind instrument. Therefore, the mouthpiece must then meet the most personal and critical demands of fine adjustment in order to achieve the desired tonal color, flexibility and sense of well-being on the instrument. While a student, it became clear to me that the right choice of equipment provides decisive help in achieving musical goals. It also became apparent that I had met the prerequisites for carrying out the task of designing innovative and qualitative mouthpieces, namely; (1) having advanced musical training (Conservatory of Linz, Vienna Music University), and (2) having the proper mechanical knowledge (completed apprenticeship in a technical sector). Now, as a professional musician, I am confronted daily with meeting the challenge of making mechanical adjustments for various physical and musical demands. This being the case, it is easier for me to identify with the problems and wishes of colleagues, and to find proper solutions to their problems. The Catalog Recognizing that my developmental work is constantly proceeding – and that I can draw on the experiences of many customers – I feel that it is now necessary to select and provide an overview of the present variety of products. Special niche products are to be put to the side (but not completely cancelled) in order to present the advantages of the more popular mouthpieces. Revisions (especially on trombone mouthpieces) have been labeled, and improvements described. Now I can only hope that you can find a fitting combination among my products that meets your needs. -
Natural Horn Models
Natural Horn Models Engelbert Schmid Tiefenried Waldhörner Engelbert Schmid GmbH, Bellerweg 3, D-86513 Mindelzell Telefon (08282) 890412, Fax (08282) 890512 Email: [email protected] Engelbert Schmid Natural Horn Models What in the beginning was considered as a fashion, in the meantime has become a firm part of the music- world: often supported by the idealism of the performers, ensembles last which play on original instruments or their copies. In the same way as this music practice often trains the sound sensibility of the musicians, I as a hornmaker had to recall historic measures, material thicknesses and manufacturing methods. By the way, this also influenced the production method of our modern valve horn bells. Let me introduce you to the result of an intensive labour of development, which has spared no expense for material or tool costs, in total 4 Natural horn models: 1. "Corno da caccia". at the same time "Corno da tirarsi” I do not want to join in the discussion which baroque works shall or can be performed by hornplayers and which by trumpet-players, but I would rather call on both sides to realize the baroque sound-world. There simply is no baroque horn on which all baroque parts can be interpreted authentically. However there was a vast palette of instrument types, which offered an interesting and seamless transition from the trumpet to the hunting-horn with big bell. My "Corno da caccia"- version meets the brighter side of the sound-palette. "Corno da caccia", "Corno da tirarsi" Engelbert Schmid Original instrument, about 1730, Friedrich Ehe in Nurenberg, in high D, with C-crook and 2 intonation pieces, out of the museum Caroline Augusteum, Salzburg Description of my "Corno da caccia"- and at the same time "Corno da tirarsi"-version: Utilization: Parts for "Corno da caccia", "Corno da tirarsi", "Lituus” Keys: From High D to low C (with A=415Hz), crooks. -
Rhetoric Level - Music
Catholic Schoolhouse Year 3 - Rhetoric Level - Music Quarter 4 – Brass Instruments Class Opener: Brainstorm all the places and genres that you recall in which brass instruments commonly perform. Which are your favorites? Can you easily tell when you are hearing a brass instrument versus another kind of instrument? How can you tell? Brass Instruments The brass family of instruments are wind instruments usually made of brass or other metal through which a sound is produced by buzzing the lips into a mouthpiece and using the lips, chin and tongue to alter the pitch. Brass instruments are aerophones, or wind instruments, and though they may appear fairly complicated, they are really just a long metal tube through which air travels. These metal tubes are typically bent into S-curves or loops to make them more compact and easy to handle, but if they were each to be stretched to their maximum length, it would be evident that the shorter instruments produce higher sounds than the longer ones. That is because the column of air in the instrument, like the length of the string on a violin or cello, is what vibrates and determines the pitch. The pitch of a brass instrument can be altered by using the lips alone to reach the octaves, fifths and fourths, but the remaining notes are produced by means of valves, which redirect the air through the metal tube in various directions, or slides, which lengthen the metal tube to various degrees. Brass mouthpiece image credit Basic brass instruments include the trumpet, French horn, trombone, and tuba. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Modern Horn Playing in Beethoven: an Exploration of Period Appropriate Techniques for the Orchestral Music of Beethoven for the Modern Horn Player
Modern Horn Playing in Beethoven: An Exploration of Period Appropriate Techniques for the Orchestral Music of Beethoven for the Modern Horn Player Matthew John Anderson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: Timothy Salzman, Chair David Rahbee Jeffrey Fair Program Authorized to Offer Degree: Music ©Copyright 2016 Matthew John Anderson I. Abstract The historically informed movement has made it increasingly apparent that orchestras can no longer interpret Beethoven, Mahler, Mozart, and Bach in exactly the same manner. It is now incumbent upon each member of the orchestra, as well as the conductor, to be aware of historic performance traditions in order to color the music with appropriate gestures. It is therefore important for horn players to explore the hand horn traditions of the baroque, classical, and early romantic periods in an effort to perform the correct inflections in a way that the composer might have expected the music to sound. As an example, in the second movement of the Beethoven’s third symphony, beginning in the second half of the eighteenth measure from the end of the movement and going into the next measure, the second horn goes from a concert middle C down a half step to a B natural. Original practice would cause the B natural to be ¾ covered which would have caused tension in the sound. Modern horns can just depress second valve to play the note giving a completely different color. The intention of this document is to inform current and future generations of hornists techniques to not only re-create sounds of the period on modern instruments, but also to create new pathways to learning repertoire through deconstructing the orchestral passages, creating new ways towards a complete understanding of the literature. -
Jazz Elements in Three Works for Solo Horn
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Compositional Trends in Solo Horn Works by Horn Performers (1970–2005): A Survey and Catalog A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements of the degree of DOCTOR OF MUSICAL ARTS in the Division of Performance Studies of the College-Conservatory of Music 2008 by Kimberly D. Rooney B.M., University of Missouri-Columbia, 2002 M.M., University of Cincinnati, 2004 Committee Chair: Dr. bruce d. mcclung ABSTRACT A survey of solo horn works composed in the late twentieth century exhibits the strong influence of horn performers on the instrument’s expanding solo repertoire. Hornists such as Jeffrey Agrell, David Amram, Paul Basler, Randall Faust, Lowell Greer, Douglas Hill, Lowell Shaw, Jeffrey Snedeker, and many others have contributed worthwhile new works to the horn repertoire. These works take advantage of recent compositional trends in order to showcase the full spectrum of musical possibilities available to the modern hornist. The goal of this study is to draw attention to the large body of horn solo repertoire that has been composed by hornists from 1970 to 2005, to explore the technical challenges it poses, to consider common trends among the works of several hornist-composers, and to encourage performance of this repertoire. Chapter One provides an overview of the project and examines the relevant existing research. -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
The Only Orchestral Instrument Harder Than the French Horn
Musical Offerings Volume 7 Number 1 Spring 2016 (Special Issue) Article 1 4-11-2016 Coursing with Coils: The Only Orchestral Instrument Harder Than the French Horn Sarah R. Plumley Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, Music Performance Commons, and the Music Theory Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Plumley, Sarah R. (2016) "Coursing with Coils: The Only Orchestral Instrument Harder Than the French Horn," Musical Offerings: Vol. 7 : No. 1 , Article 1. DOI: 10.15385/jmo.2016.7.1.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss1/1 Coursing with Coils: The Only Orchestral Instrument Harder Than the French Horn Document Type Article Abstract Playing the horn has become not only more sophisticated and accurate, but simpler and more efficient for the horn player. The natural horn, used in a variety ways in early history, demanded an incredible level of skill and precision, more than our valved horn today in some ways because it required a more accurate ear, more embouchure dexterity, and the necessity of wrangling crooks for different keys.