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Lip-Blown Instruments of Ireland Before the Norman Invasion
DOWNEY 75 LIP-BLOWN INSTRUMENTS OF IRELAND BEFORE THE NORMAN INVASION Peter Downey t is generally assumed that metal lip-blown instruments were introduced into Europe by the Arabs and Moors during the Middle Ages as the result of the Crusades and other Ibelligerent contacts. This assumption requires subscribing to the belief that, with the fall of the Roman Empire, all knowledge of the manufacture and use of lip-blown instruments, such as the Roman tuba and comu or the Gallic carnyx, was lost in the turmoil and destruction of the Dark Ages. Serious doubts have been cast on the concept recently, most notably by Don Smithers.1 The arguments have been presented in a quite persuasive manner. However, what has been missing to date is "test-case" evidence from a part of Europe in which there can be shown a continuity of manufacture and use of lip-blown instruments throughout the period under scrutiny, and whose history shows that: 1) they remained outside the Roman Empire; 2) they were cushioned from the events of the Dark Ages that followed the fall of that empire in the west; 3) they did not participate in the early confrontations between Christian and Muslim. One such example is actually to be found on the fringe of Western Europe, namely, Ireland. Aspects of Ireland's testimony have been mentioned briefly in various texts, but much misunderstanding and misrepresentation has accompanied and clouded the clarity of that evidence. What follows is the first stage of an attempt to dispel some of those clouds by bringing into clearer focus the material riches preserved in Ireland from its long-lasting cultural independence.2 Because many readers may be unfamiliar with Ireland's prehistory and early history, short overviews of the historical situation are also included as appropriate to provide a contact for the instruments described. -
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. -
Transposition Tutorial 1
Transposition Tutorial 1 Open the transposition menu by clicking the radio button Defaults menus: 1st dropdown menu: To the following key; 2nd dropdown menu: C Major / A minor; Up and All Staves. Transposing by key: From the 2nd dropdown menu showing C Major/A minor, select a key and then choose Up or Down depending on the key. Up or Down indicates direction of the transposition. For best results, when transposing by key choose the direction which results in the smallest interval of change. Click OK to complete the transposition. To return to the original key, click Reload. Transpositions cannot be saved. Closing the selection or the viewer will automatically reset to the original key. Transposing for an instrument: From the 1st dropdown menu select: For a transposing instrument. From the 2nd dropdown menu, now showing Soprano Saxophone select your instrument. If your music is a Piano Vocal sheet, you may want to transpose only the melody by selecting Staff Number(s)1 through 1. You will transpose only the melody for the instrument you choose and the piano will remain in its correct key. Transposition Tutorial 2 Transposing for an Instrument (continued): Once you have transposed the melody line for a specific instrument you may choose to change the octave of just the melody line. For example, Tenor Saxophone transposes up an octave and a 2nd, and the resulting transposition may be too high for the instrument. From the 1st dropdown menu, select By Interval. From the 2nd dropdown menu now showing Minor Second, select Perfect Octave. Select the Down button and to transpose only the melody line select Staff Number(s) (Staff number 1 though 1 is the melody line). -
The Improvements of Brass Instruments from 1800 to 1850 Including Implications for Their Usage
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1965 The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age Delmar T. Vollrath Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Vollrath, Delmar T., "The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age" (1965). Masters Theses. 4300. https://thekeep.eiu.edu/theses/4300 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Improvements of Brass Instruments from - 1800 to 1850 Including Implications for Their Usage (TITLE) BY Delmar To Vollrath THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Science in Education IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS --.12�65�- YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE JI, !f{j_ ol\ln TA.llLE OF CONTENTS Chapter I Introduction • • • • • , •• • • • • • • l JI �t ................ 4 III Cornet • • • • • • • • • , • • • • • • IV Tronlhone • • • • • • • .. • , • • •. • • • 18 v Horn • • • • • • • • • • • • • ••••• 22 VI • • • • • • • 4i •••• " • • -'II' •• JJ VII • • • • • • • . ' . .. 39 VIll BU'itone and EuphoniU111 • II •• e II e •• 43 IX Saxophone ••••• • ..... • • • • • I Conolu•ion • • • • • • • .• • • " .... r-''} . • .. APi'ii2IDTX , "' • . • • . ... ,.. BI BL!OORAP!II • • • • • • • • • • . .. The ;:mrpose o:': this stud,)' is to axwni.ne one ;:;'.:&oo of tho evolution of 111J.ls1.oal :tnstrunentsJ that oi' t',e p'1�,;ica1 isi:pr'.ive":ents of brass wind instruments !'roui 1800 to 1 ,50, i:::i the '1opc that a more hharough understanding of the :instru- 1..:ints and their back1;ro·.md will re ;:tlt. -
The Diapason an International Monthly Devoted to the Organ, the Harpsichord and Church Music
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC Si:d,.Sixth Year~ No. ! - Whole No. 785 FEBRUARY. 1975 Anteri~an Guild of Organists MmlVINTER CONCLAVE Bousion~ Texas De~. 26-28 In the Franck. tbe Germanic reeds worth. visiting. Private toun had been discipline usually begins with years of by Lat'ry Palmer were jarring. but Mr. Anderson's over arranged so the delegates had a more study of theory. harmony, and countcr all sense of tlle musical architecture was inclusil'e showing than usual. point, followed by exercises in writing superb. The 4taize. a sort of "Wedge" William Teague'. late afternoon reo and impro"ising canons. duos, trios, in· fugu~ a la Buckminster Fuller, received cital at Moody Memorial Methodist ,,'entions, and eventually fugues - all a scintillating performance. although in Church was entitled "Goodby to Christ· using traditional harmonies. Not until our opinion there arc more notes than ...... " the grammar lessons arc completely 3S· Nearly 150 ugistrants came to Hou~ music in this work. Program: NoS X, Grand jell el duo, similated does a French student begin lon, TL"Xas for the annual midwinter Following the recital, a modest group Daquin: Allein Gott in dcr Hah' lei Ebr' constructing his or her own freer musi (Le.. post.Christmas) get-together spon of people gathered for the "Get·Ac· (ClavierQbung III). Bach: Les Bc!rgc.rs, cal language in the paraphrase, toccata, sored by the AGO. For those from quam ted" hour at the conclave head. La Nativi~, Messiaen; Varladom lOr tryptique, ,'ariation. or the larger free northern climes who hoped to escape quart('rs, the Marriott Motor Hotel. -
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. -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
The Rodgers 579Is the Most Full-Featured 2 Manual Organ You'll
The Rodgers 579 is the most full-featured 2 manual organ you’ll find in its class, built with the same high-quality cabinet and extra features that come in larger models, including double expression, crescendo pedal, 10 toe pistons, expanded voicing capability and powerful tone generation system. Organists will appreciate the useful Organ Type piston that instantly calls up any of four sets of stops, while still allowing the selection of any desired alternative from Voice Palette™ or User Voices. Manual I (Great) Couplers: II/I (SW to GT) Specifications Tablet VP1 VP2 VP3 29 stops / 241 total voices Bourdon 16’ Violone 16’ Principal 16’ Quintaton 16’ 29 primary voices Principal 8’ Open Diapason 8’ Montre 8’ Prinzipal 8’ 87 Voice Palette™ voices Gemshorn 8’ 2nd Diapason 8’ Voce Umana II 8’ Aeoline 8’ 92 User pipe organ voices Gedackt 8’ Clarabella 8’ Flûte Harmonique 8’ Bourdon 8’ 32 User orchestral voices Octava 4’ Principal 4’ Flûte à Bec 4’ Fugara 4’ Chimes Rohrflöte 4’ Open Flute 4’ Lieblichflöte 4’ Kleine Gedackt 4’ General Pistons: 10 Quinte 2-2/3’ Twelfth 2-2/3’ Nazard 2-2/3’ Quintaden 8’ Divisional Pistons: 5 Great, 5 Swell Superoctav 2’ Fifteenth 2’ Doublette 2’ Piccolo 2’ Toe Pistons: 10 configurable Mixtur IV Tierce Mixture V Cornet V Rauschquint IV Couplers: 3 plus 6 User/MIDI Controls Trumpet 8’ Waldhorn 8’ Trompette 8’ Cromorne 8’ Bass and Melody Couplers Chimes Tremulant: 2 Tremulant Shoes: 2 Expression, Crescendo Manual II (Swell) Memory: 20 levels x 20 pistons (400) Tablet VP1 VP2 VP3 Console dimensions: Spitz Geigen 8’ -
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. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
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 -
Reed Instruments About Reeds
Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb.