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Boosey & Hawkes
City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures...................................................................................................................................... -
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. -
Characterization And' Taxonomy Acoustical Standpoint
Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care. -
The Classical Mythology of Milton's English Poems
YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book. -
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. -
The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
The Musical Tradition of Central European Intengible Heritage
The Musical Tradition of Central European Intangible Heritage Wojciech M. Marchwica The Fryderyk Chopin Institute, Warsaw / Institute of Musicology, Jagiellonian University, Krakow (Poland) Problem with Definition Discussing the question of European heritage – at both national and pan‑national levels – we often concentrate on the material that remains, like bricks, trees, urban resources, design and art, etc. Very often, we forget about the results of spiritual or emotional results of human think‑ ing, about the intangible heritage, including music, instead paying at‑ tention mostly to visible artefacts. According to romantic aesthetics like Wilhelm Schlegel and others, music is the highest of the fine arts just because it does not need any kind of media to be perceived, and does not need any material form to transcribe an artist’s idea into any lis‑ tener’s mind. I am afraid that at the moment we have lost such an under‑ standing of art and – under the reign of “picture civilisation” – it is no longer valid. However, it is worth noticing that people most often associ‑ ate the term “heritage” with tangible and immovable heritage (mostly “monuments”). Recent research (concerning the role of “affectivity” and “time” in cultural understanding and social memory) underlines the role of feelings and intangible traces of cultural memory within the process of social self‑definition.1 I would like to describe such a small example of (Central) European cultural heritage within the area of music – to show the increasing complications that arise when defining the borders of mu‑ sical heritage, but also to find some solutions – describing the specific case of the pastorella. -
The CCFCS Collection of Musical Instruments: Volume One, Aerophones" by Roy W
APPENDIX LIST OF CATALOGUE ENTRIES CATALOGUE NUMBER DESIGNATION PAGE 1 tung-hsiao 3 2 shakuhachi 6 3 shakuhachi 6 4 shakuhachi 6 5 tanso 10 6 yak 10 7 t'ongso 11 8 t'ongso 11 9 zubivka 14 10 zubivka 14 11 zubivka 14 12 zubivka 14 13 zubivka 14 14 zubivka 14 15 skudutis 17 16 panpipes 19 17 so 22 18 syrinx 25 19 ti-tzu 28 20 ti-tzu 28 21 ti-tzu 28 22 ti-tzu 29 23 ti-tzu 29 24 ti-tzu 29 25 ti-tzu 29 26 ryuteki 34 140 Appendix CATALOGUE NUMBER DESIGNATION PAGE 27 Chi 36 28 So gum 38 29 Chunggum 38 30 Taegum 39 31 Chilitli 41 32 Globular flute 44 33 Globular flute 44 34 Hun 46 35 Sopilka 48 36 Sopilka 48 37 Sopilka 48 38 Sopilka 48 39 Sopilka 48 40 Shepherd's pipe 52 41 Penny whistle 55 42 Tin whistle 55 43 Txistu 57 44 1'ujara 60 45 English flageolet 63 46 English flageolet 63 47 Dvoynice 66 48 Double flageolet 68 49 Whistling water pot 71 50 Bird whistle 71 51 Assobio 71 52 Chain whistle 74 53 Cuckoo whistle 74 54 Horse whistle 77 55 Deer whistle 77 56 Cocoloctli 77 57 Ocarina 77 Appendix 141 CATALOGUE NUMBER DESIGNATION PAGE 58 Ocarina 77 59 Shong 81 60 Sheng 81 61 Sheng 81 62 Concertina 89 63 Tangp'iri 90 64 Hyangp'iri 90 65 Sep'iri 90 66 Sojfer 92 67 T'aep'yongso 94 68 Shehnai 97 69 Shehnai 97 70 Shehnai 97 71 Sona 101 72 Sona 101 73 Sona 101 74 Sona 101 75 Sona 101 76 Bombarde 104 77 Bombarde 104 78 Scottish Highland Bagpipe 106 79 Scottish Highland Bagpipe 106 80 Birbyne 111 81 Birbyne 111 82 Siesienki 115 83 Koziol 115 84 Dudy 115 85 Shofar 121 86 Shofar 121 87 Shofar 121 142 Appendix CATALOGUE NUMBER DESIGNATION PAGE 88 Hora 125 -
Trumpet from Wikipediawikipedia,, the Free Encyclopedia
TTrruummppeett- WWiikkiippeeddiiaa, ,tthhe effrreee eeennccyyccllooppeeddiiaa hhttttppss::////eenn..wwiikkiippeeddiiaa..oorrgg//wwiikkii//TTrruummppeett Trumpet From WikipediaWikipedia,, the free encyclopedia AA trumpet is a musical instrument. It has the highest register in the brass family. As a signaling device in battle or hunting, Trumpet trumpets have a very long historyhistory,, dating back to at least 1500 BC; they have been used as musical instruments since the 15th century..century [1][1] Trumpets are used in art music styles, where they are an instrument in the orchestra and in concert bands, and in popular music styles such as jazz. TTheyhey are BB♭♭ trumpet played by blowing air through almost-closed lips, producing a "buzzing" sound that starts a standing wave vibration in the Brass instrument air column inside the instrument. Since the late 15th century Classification they have primarily been constructed of brass tubing, usually Brass bent twice into a rounded oblong shape. Wind There are several types of trumpet. The most common is a Brass transposing instrument pitched in B♭♭ with a tubing length of Aerophone about 1.48 m (4 ft 10 in). Earlier trumpets did not have valves, but modern instruments generally have either three Hornbostel–Sachs 423.233 piston valves or, more rarelyrarely,, three rotary valvesvalves.. The use of classification (Valved aerophone rotary valve trumpets is more commonly seen in European sounded by lip movement) countries, particularly Germany and Austria. Each valve Playing range increases the length of tubing when engaged, thereby lowering the pitch. Written range: A musician who plays the trumpet is called a trumpet player oror trumpeter . -
Idiophones and Membranophones" by Roy W
SUMMARY OF MATERIALS IN VOLUME ONE, AEROPHONES LIST OF CATALOGUE ENTRIES CATALOGUE NUMBER DESIGNATION PAGE 1 tung-hsiao 3 2 shakuhachi 6 3 shakuhachi 6 4 shakuhachi 6 5 tanso 10 6 yak 10 7 t'ongso 11 8 t'ongso 11 9 zubivka 14 10 zubivka 14 11 zubivka 14 12 zubivka 14 13 zubivka 14 14 zubivka 14 15 skudutis 17 16 panpipes 19 17 so 22 18 syrinx 25 19 ti-tzu 28 20 ti-tzu 28 21 ti-tzu 28 22 ti-tzi 29 23 ti-tzu 29 24 ti-tzu 29 25 ti-tzu 29 26 ryuteki 34 Catalogue Entries 103 CATALOGUE NUMBER DESIGNATION PAGE 27 Chi 36 28 So gum 38 29 Chunggum 38 30 Tae gum 39 31 Chilitli 41 32 Globular flute 44 33 Globular flute 44 34 Hun 46 35 Sopilka 48 36 Sopilka 48 37 Sopilka 48 38 Sopilka 48 39 Sopilka 48 40 Shepherd's pipe 52 41 Penny whistle 55 42 Tin whistle 55 43 Txistu 57 44 Fujara 60 45 English flageolet 63 46 English flageolet 63 47 Dvoynice 66 48 Double flageolet 68 49 Whistling water pot 71 50 Bird whistle 71 51 Assoblo 71 52 Chain whistle 74 53 Cuckoo whistle 74 54 Horse whistle 77 55 Deer whistle 77 56 Cocoloctli 77 57 Ocarina 77 104 Vol. One Summary CATALOGUE NUMBER DESIGNATION PAGE 58 Ocarina 77 59 Sheng 81 60 Sheng 81 61 Sheng 81 62 Concertina 89 63 Tangp'iri 90 64 Hyangp'iri 90 65 Sep'iri 90 66 Sojfer 92 67 T'aep'yongso 94 68 Shehnai 97 69 Shehnai 97 70 Shehnai 97 71 Sona 101 72 Sona 101 73 Sona 101 74 Sona 101 75 Sona 101 76 Bombarde 104 77 Bombarde 104 78 Scottish Highland Bagpipe 106 79 Scottish Highland Bagpipe 106 80 Birbyne 111 81 Birbyne 111 82 Si esi enki 115 83 Koziol 115 84 Dudy 115 85 Shofar 121 86 Shofar 121 87 Shofar 121 Catalogue -
US Army Band Section Leader Handbook
TC 12-44 Army Band Section Leader Handbook MAY 2005 Headquarters, Department of the Army DISTRIBUTION RESTRICTION: Approved for public release; distribution is unlimited. This publication is available at Army Knowledge Online (www.us.army.mil) and the General Dennis J. Reimer Training and Doctrine Digital Library at (www.train.army.mil). TC 12-44 Training Circular 12-44 *TC 12-44 Headquarters Department of the Army Washington, DC, 23 May 2005 ARMY BAND SECTION LEADER HANDBOOK TABLE OF CONTENTS PREFACE ................................................................................................ iv CHAPTER 1 MUSICAL INSTRUMENTS ............................................. 1-1 BRASS GROUP....................................................................................................... 1-1 Trumpet ............................................................................................................ 1-1 Euphonium/Baritone ......................................................................................... 1-2 French Horn ...................................................................................................... 1-3 Trombone.......................................................................................................... 1-4 Tuba.................................................................................................................. 1-6 WOODWIND GROUP ............................................................................................... 1-9 Flute ................................................................................................................