St Albans Cathedral

Total Page：16

File Type：pdf, Size：1020Kb

The Organs St Albans Cathedral Harrison & Harrison (1962, 2009) The Swell and Great Organs are GREAT housed in the north and south cases Principal 16 / Bourdon 16 The original plans for the organ, as respectively, on either side of the Principal 8 / Diapason 8 completed in 1962, were drawn up by quire screen. A new case was built in Spitzflute 8 / Stopped Diapason 8 Ralph Downes in association with the 1962 for the Choir Organ, designed by Octave 4 / Stopped Flute 4 / Quint 223 cathedral organist, Peter Hurford, and Cecil Brown, cathedral architect of the Super Octave 2 / Blockflute 2 in consultation with the organ time, and placed centrally on the east Mixture (19.22.26.29) IV–VI builders.The organ incorporates side of the screen. The console is on Bass Trumpet 16 / Trumpet* 8 pipework from the previous organ, the west side. Clarion* 4 together with the north and south Grand Cornet (1.8.12.15.17) V organ cases designed by John Oldrid Major restoration in 2007–09 included Choir to Great / Swell to Great Scott, dating from 1908. However, all a new four-manual console and the Solo to Great of the old pipework was revoiced and addition of several new stops, while the tonal design was completely new. the 1962 tonal scheme was preserved. A nave division will be added later. GREAT Mixture (22.26.29) III SOLO Principal 16 Cimbel* (29.33.36) III Corno di Bassetto 16 Bourdon 16 Hautboy 8 (from Sw) Principal 8 Vox Humana 8 Grand Cornet V Diapason 8 Corno di Bassetto 16 (from Gt) Spitzflute 8 Trumpet 8 Fanfare Trumpet 8 Stopped Diapason 8 Clarion 4 Cimbelstern, 6 bells* Octave 4 Tremulant Octave Stopped Flute 4 Octave Unison Off Quint 223 Sub-Octave Great Reeds on Solo Super Octave 2 Unison Off Blockflute 2 PEDAL Mixture IV–VI CHOIR Sub Bass 32 (19.22.26.29) Quintaton 16 Principal 16 Bass Trumpet 16 Open Diapason 8 Major Bass 16 Trumpet* 8 Gedacktpommer 8 Bourdon 16 Clarion* 4 Flauto traverso 8 Quint 1023 Grand Cornet V Octave 4 Octave 8 (1.8.12.15.17) Rohrflute 4 Gedeckt 8 Choir to Great Waldflute 2 Nazard 513 Swell to Great Larigot 113 Choral Bass 4 Solo to Great Sesquialtera (19.24) II Open Flute 2 Mixture (22.26.29.33) IV Mixture (19.22.26.29) IV SWELL Cromorne 8 Fagotto* 32 Open Diapason 8 Tremulant Bombardon 16 Rohrflute 8 Octave Fagotto* 16 Viola 8 Unison Off (from Ped 32ft) Celeste 8 Swell to Choir Bass Trumpet 16 Principal 4 Solo to Choir (from Gt) Open Flute 4 Tromba 8 Nazard 223 Shawm 4 Octave* 2 Choir to Pedal Gemshorn 2 Great to Pedal Tierce 135 Swell to Pedal * new stops, 2009 Solo to Pedal Photo: Chris Christodoulou 30TH ST ALBANS INERNATIONAL ORGAN FESTIVAL & COMPETITIONS 2019 15 .

Copy Link

Recommended publications

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.
[Show full text]
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.
[Show full text]
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’
[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]
The English Slide Trumpet
262 HISTORIC BRASS SOCIETY JOURNAL THE ENGLISH SLIDE TRUMPET John Webb he most significant period in the evolution of the trumpet was the last two decades of the 18th century. Clearly, the art of natural trumpet playing was in decline, as exemplified by Burney's complaints about out-of-tune eleventh and thirteenth Tharmonics in a performance of "The Trumpet Shall Sound" by Sargant (1784): "He had not been bred in the clarion way of playing and could not temper these tones to their proper intonation."1 Three years later, we had Shaw's "Harmonic Trumpet,"2 the earliest surviving example of a brass instrument equipped with nodal venting. About the same time, hand-stopping was introduced (with the demi-lune trumpet, a natural instrument curved to make the bell accessible to one hand). The keyed trumpet, too, must have been around on the Continent for Haydn to have been familiar enough with its capabilities for his concerto (1796). In England, the big development was the slide trumpet. The only novelty about the slide trumpet was the slide-return mechanism. The principle of slides on trumpets goes back probably to the 15th century and the common ancestors of the trumpet and trombone. Many engravings exist of the Zugtrompete, the instrument that could move to and fro on its mouthpipe yard. A few, showing U-bend slide trumpets, have come to light. Three are reproduced here (Figures 1 a, lb and 1c). Their kinship with the trombone is hinted at in Figure 1 e, the Cellier woodcut (ca. 1585), as well as in several descriptions: Trevor Herbert, in his article "The Sackbut in England in the 17th and 18th centuries," cites a 1692 dictionary definition of a sackbut as a "drawing trumpet".3 There is also Burney's "sackbut or double trumpet" (see note 1), Cerone and Mersenne's "sackbut or harmonic trumpet," and, of course, there are a number of engravings of the English flat trumpet with their "sackbut" captions.4 Figure 1 d shows the most familiar flat trumpet depiction.
[Show full text]
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.
[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]
Atlantic City
Pitch Stop Name Pipe Count Voice Number Notes Left Jamb Pedal Right 64 Diaphone 85 17 32 Sub Principal 21 32 Contra Tibia 97 1 21 1/3 Tibia Quint 1 16 Diaphone Phonon 39 2 50" 16 Diapason 22 16 Principal 109 4 16 Diapason 21 16 Geigen Principal 82 16 Tibia Major 85 3 16 Grand Bourdon 1 16 Major Flute 59 16 Wald Flute 81 16 Tibia Clausa 83 16 Viol 85 5 12 4/5 Gross Tierce 68 6 10 2/3 Diaphone Quint 2 50" 10 2/3 Tibia Quint 1 10 2/3 Tibia Quint 3 10 2/3 Principal Quint 4 10 2/3 Minor Quint 83 9 1/7 Septieme 68 7 8 Octave Principal 4 8 Octave Major 22 8 Octave Diapason 85 8 Octave Geigen 82 8 Gross Gemshorn 87 8 Tibia Major 3 8 Tibia Clausa 1 8 Doppel Gedeckt 86 8 Octave Viol 5 6 2/5 Gross Tierce 6 5 1/3 Tibia Quint 3 5 1/3 Principal Quint 4 5 1/3 Tibia Quint 1 4 4/7 Gross Septieme 7 4 Super Octave 4 4 Super Octave 85 4 Tibia Fifteenth 3 4 Flute Fifteenth 1 4 Viol Fifteenth 5 3 1/5 Tierce 6 2 2/3 Flute Nineteenth 1 2 2/3 Tibia Major Nineteenth 3 2 2/3 Viol Nineteenth 5 2 2/7 Septieme 7 2 Tibia Twenty-Second 4 2 Flageolet 81 1 3/5 Octave Tierce 6 1 1/3 Tibia Twenty-Sixth 3 64 Dulzian 17 42 2/3 Contra Dulzquint 17 32 Contra Bombardon 85 8 32 Contra Dulzian 17 21 1/3 Dulzian Quint 17 16 Grand Ophicleide 85 9 100" 16 Tuba Magna 73 50" 16 Bombardon 8 16 Trumpet Profunda 74 16 Dulzian 17 16 Trumpet 97 10 16 Saxophone 96 16 Krummhorn 100 16 Oboe Horn 95 Reed Mixture V Mixture 1 1/7 Octave Septieme 7 1 Flute Twenty-Ninth 1 16 English Horn 97 16 French Horn 98 16 Vox Baryton 99 10 2/3 Bombard Quint 8 10 2/3 Dulzian Quint 17 8 Ophicleide 9 100" 8 Octave
[Show full text]
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs The trumpet in Scotland from 1488 to 1800 Thesis How to cite: McGrattan, Alexander (1999). The trumpet in Scotland from 1488 to 1800. PhD thesis The Open University. For guidance on citations see FAQs. c 1999 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: [not recorded] Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e281 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Open Research Online The Open University’s repository of research publications and other research outputs The trumpet in Scotland from 1488 to 1800 Thesis How to cite: McGrattan, Alexander (1999). The trumpet in Scotland from 1488 to 1800. PhD thesis The Open University. For guidance on citations see FAQs. c 1999 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: [not recorded] Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e281 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Open Research Online The Open University’s repository of research publications and other research outputs The trumpet in Scotland from 1488 to 1800 Thesis How to cite: McGrattan, Alexander (1999).
[Show full text]
Toti:E:: !!:.- I Request of Allied Powers Pos Tigers
V '' .... - . jr.'-- ' ' . ; .... 4, - - jr , UA1L8 From tan Francises? alatnoula. Not. 10. , r ; ? For &an Francisco: ?a r:r. Xf&noa, j Nov. 8. ( From Vancouver: Niagara, Dec 1. im:?. - For Vancouver: v. - . ' . Niagara. Nov. 1. Erening Bulletin. Eat 1882, No. 314 22 PAGES: HONOLULU, teBEITQRY OP HAWAII, SATURDAY, .VOVKMBFJl fi, 1015.-- 22 PAGES. Hawaiian Star. Vol. XXIII. Na 7355 PRICE FIVE CENTS nnn'n " ' 01 no lll 'i . Hit. 3 . U i i'.i j 1 L3 u J u J Liu. o:::;:.i votes ran Martial Farewell 7 WAR LEADER TO SEE - i : BALKANS FIRST-HAN- D .r'"'rr,":;iir.p:inr'iT Retiring 1 I "N t " r r--i r rt rs fi yv n n o - i ' : -- i ili . ' 1 V W. n :v.l--JUd KitiU U it d V-- w .3 ! :! tOTi:E:: !!:.- i Request of Allied Powers Pos Tigers . Lack Punch and Allow sibly Will Be Complied With 7 ."en to OU'.-GARIA- V Houghton's Score RUSSIANS HURLED BACK ACROSS RIVER STRIPA fiS if Can Be Legalized ;: , - ; Touchdown By Rushing TAKE NISH AFTER HARD 'FIGHTING GER:.:w7 r.!ASSf.!EETiriGHERENEXT : !AH TIES PASS G!jRALTAH. AT- - CROWN BEATSYALE BY JUH' REACH f.'.EDITEnn WEEK TO REVOLT ea:: ;.::d sink Rumania FOMENT ONE LONE FIELD GOAL r thhee stealers influ. ENCED BY SUCCESS OF n- - TEUTONS - Revolutionists Would Raise y ,: ? ; t Cornell's "Big Red Team" Eas- - V Associated Press Service by Federal Wireless . Funds to Unseat Yu:n Shih - ? iiy Wins From Michigan;.- VV LONDON, England,! Xov. 6. Kai, Objecting to Monarch Lonl Kitchener, secretary cf y Other Cc'Jege Scores state for war, has left London for the Balkans, according to an an- .;,;.
[Show full text]
APPROVE): La Minor Fro Feasor Iran of Fcha Sehoosf
vest HISTORY OF THS rssntm TMMM THE MROQIIB » APPROVE): la Minor Fro feasor *jyuj Iran of fcha SehooSf '®T Ifuaic at* School THE nmmm of mm THSKPET FM MMMA THKSIS Presented to tim Sraiwat® Council of tfao Horth Tmi Stmt® College la Partial FulfilJUMmt of th* Requirement* For fcho Degree of MASTER OF MCSIC by Robert S. Douglaee, B* tf« 1/ Br®@fe®urlig®» Texaa August» 1953 /. ^ PREFACE The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of aneient cultures to the baroque trumpet 011 which were performed the astounding parts composed by the culminating figures of that period, Baoh and Handel# The considerable interest displayed in the music of the baroque period and the recent revival of mch of it in modern performance demands an investigation of the instru- ments upon which it was performed, among which one of the least understood is the trumpet. It is desirable for modem performers using modern instruments in rendering these parts to understand the resouroes and limitations of the instru- ment contemporary with the music* ili TABLE OP CONTENTS fag® nmes . ifi LIST OF ILLtfSTKATIOSS v LIST OF PLATES Chapter I. AHTIQUITY AW THE MIDDLE AOSS ~-o. li^OO) . 1 II. THE RKUAISSAHCK (®. li*00-l600) 28 III* THJS BAROQUE ERA (l600-XT50) |^. IV. MODERN PERFORMANCE OF MSOQl® TRUMPET PARTS . , 138 Appendix I. HOJflJNCLATtJRg OP THB TRUMPKT AS) MOOTHPISCB . Xl|3 II. TABLR OP THE WORKS OF KAHDKL T7SING THUMP® . III. TABLE OF TIES 80BKS OP BACH USING 7RUSEPKT . ISO IV. DIGEST OF 140150 PSE IMPAHARE A SONARS CI TBGSBA.
[Show full text]