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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 (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper.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...................................................................................................................................... -
Band Director's Catalog
BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated -
SOLO TROBILA – 14. Marec (Vipolže) SOLO BRASS – 14 March (Vipolže)
SOLO TROBILA – 14. marec (Vipolže) SOLO BRASS – 14 March (Vipolže) Kategorija/Category ELEMENTARY (10:00 – 14:00) 10:00 Liam Marc Baša Slovenija/Slovenia evfonij (bariton)/euphonium (baritone) J. S. Bach: Sicilienne R. Newton: Baritone Aria C. Marques: Cassiopeia 10:11 Živa Hozjan Slovenija/Slovenia pozavna/trombone W. van Dorsselaer: Le grand duc V. Cook: Ruby W. van Dorsselaer: A Longchamp P. Goosensen: Tournament Day 10:22 Anton Ajster Slovenija/Slovenia pozavna/trombone H. A. Vandercook: Garnet R. Clerisse: Priere W. van Dorsselaer: Le Grand Duc prir. M. Williams: Trombones on the Housetop 10:35 Bruno Žižmund Slovenija/Slovenia sopranski helikon/soprano helicon P. J. Fick: Concerto A 5 ex Dis, 1. st. P. Baratto: Paprika P. Marquina: Ecos Espanoles 10:45 Jakob Skerbiš Slovenija/Slovenia rog/horn W. A. Mozart: Koncert za rog št. 1., 2. st. (Allegro) C. Saint-Saëns: Morceau de Concert, 1. st. (Allegro moderato) M. Mangani: Theme for Trumpet 10:57 Gorazd Ambrožič Slovenija/Slovenia rog/horn G. Farnaby: His Rest J. Haydn, prir. P. Reade: St. Anthony Chorale P. I. Čajkovski: Kranich im Hanf H. Kocher-Klein: Vier Stücke (Abendlied, Tanz, Traurig, Lustig) A. Dvořák: Simfonija št. 8, 1. st. (Allegro con brio) 11:06 Viktor Nišavić Slovenija/Slovenia rog/horn D. J. Škroup: Koncert v B-duru J. Ch. Pepusch, prir. M. Holtzel: Sonata v C-duru, 1. st. (Adagio) P. I. Čajkovski, prir. A. Campbell: Simfonija št. 5 M. P. Musorgski: Slike z razstave (Promenada) 11:18 Črt Gradišar Slovenija/Slovenia rog/horn A. Fasce: Petite Piece R. Calmel: Elegie J. Ployhar: The Hunt I. -
So You Want to Buy a Horn
So, You Want to Buy A Horn! Recommended brands: DOMESTIC Holton (Farkas 179, 180; H-188, H-105, H-190, H-191, Merker 175) Conn (8D, 8DY, 8DR, 10D, 10DR, 11D, and 11DR) King (Eroica) Yamaha (667, 667V, 668, 668V) FOREIGN Hoyer (6801 –Kruspe wrap; 6801K-Geyer wrap) Alexander (103, 200) Paxman (25, 23; the most popular bell sizes are L or A) Finke PRESTIGE HORNS Englebert Schmid Lawson Lewis Geyer Lechniuk Hill Rausch Berg McCraken Patterson Atkinson Kuehn OK, WHAT IS THE DIFFERENCE BETWEEN THESE INSTRUMENTS? It really all depends on what you are looking for. Domestic instruments, as well as some foreign instruments, are massed produced. This means that during a manufacturing ‘run,’ many instruments are coming off the assembly line in close succession. With regard to domestic makers, this is even more so as demand for instruments is greater than supply so there may be a waiting period for delivery of instruments. Thus, the manufacturer is concerned with meeting up with the supply. This means that there is not enough time to detail out the instrument, making sure that slides and valves are fitted properly or are in good alignment. When buying a new massed produced instrument, often the instrument will need a professional preparation, to bring it up to normal standards. It is an unfortunate circumstance, but often this is a common fact nowadays. Some mass produced instruments, such as the Conn 8D, have had a storied history. At certain times during their manufacture, these instruments were of superior quality and have many desired response traits. -
Osservatorio Letterario Anno XVI/XVII NN. 89/90 2012/2013
OSSERVAtORIO LEttERARIO *** Ferrara e l'Altrove *** ANNO XVI/XVII – NN. 89/90 NOVEMBRE-DICEMBRE/GENNAIO-FEBBRAIO 2012/2013 FERRARA Rassegna di poesia, narrativa, saggistica, critica letteraria - cinematografica - pittorica e di altre Muse Periodico Bimestrale di Cultura ISSN: 2036-2412 Osservatorio Letterario – Ferrara e l’Altrove EDIZIONE CULTURALE O.L.F.A. proclamazione degli stessi autori, Edizione O.L.F.A., OSSERVATORIO LETTERARIO Ferrara, 24 Luglio 2012 Illustrazione © di Enikő Sivák, Foto © di Melinda B. Tamás-Tarr *** Ferrara e l'Altrove *** Fondato e realizzato nell'Ottobre 1997 dalla Dr.ssa/Prof.ssa Melinda B. Tamás-Tarr SEGNALATO DA RADIO RAI 1 IL 25 MARZO 2001 ISSN: 2036-2412 ANNO XVI/XVII - NN. 89/90 NOVEMBRE-DICEMBRE/GENNAIO-FEBBRAIO 2012/2013 Rassegna di poesia, narrativa, saggistica, critica letteraria-cinematografica-pittorica e di altre Muse O.L.F.A. Periodico Bimestrale di Cultura Registrazione Tribunale di Ferrara n. 6/98 del 14/04/1998 Direttore Resp. & Edit./Caporedattore/Titolare: Melinda B. Tamás-Tarr Copertina posteriore (interno): Le nove Muse (disegno) di Corrispondenti: Miklós Borsos (artista ungherese), La Musa musicante Mario Alinei (I), Gábor Czakó (H), Imre Gyöngyös (Nuova (superficie di una coppa etrusca della metà del sec. V Zelanda), Americo Olah (U.S.A.), Michelangelo Naddeo (I), a.C.), La pastorella o: «L’inizio delle Arti» (scultura) di Gyula Paczolay (H), Emilio Spedicato (I), Fernando István Ferenczy (artista ungherese), Le nove Muse Sorrentino (Ar) (pavimento a mosaico della Villa Romana di Trier del II sec.). Collaboratori fissi ed occasionali: Imre Madarász (H), Umberto Pasqui, Enrico Pietrangeli, ABBONAMENTO Giorgia Scaffidi (I), László Tusnády (H) Enzo Vignoli (I), Persone fisiche/Természetes személyek: Autori selezionati per il presente fascicolo € 41 in caso di spedizione piego libro ordinario; € 43 in caso di spedizione piego libro Racc.; € 45 in caso di Direzione, Redazione, Segreteria spedizione piego libro Racc. -
Soprano Cornet
SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor -
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. -
An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn
AN INVESTIGATION OF NOVICE MIDDLE AND HIGH SCHOOL BAND DIRECTORS’ KNOWLEDGE OF TECHNIQUES AND PEDAGOGY SPECIFIC TO THE HORN Jennifer B. Daigle A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2006 Committee: Carol Hayward, Co-advisor Andrew Pelletier, Co-advisor Vincent J. Kantorski Charles Saenz © 2006 Jennifer B. Daigle All Rights Reserved iii ABSTRACT Carol Hayward, Advisor The purpose of this study was to determine novice middle school and high school band directors’ knowledge of techniques and pedagogy specific to the horn. Ten band directors currently teaching middle or high school band and who were in their first through fourth year of teaching were interviewed. Questions were derived from current brass methods textbooks and placed in one of the following six categories: (a) collegiate background; (b) teaching background; (c) embouchure, posture and right hand placement; (d) construction of single and double horns; (e) muted, stopped and miscellaneous horn pedagogy; (f) care and maintenance. Findings from this study indicate that novice middle and high school band directors have varying amounts of knowledge and expertise of the horn and, in general, are lacking fundamental knowledge of specific horn techniques. In addition, it appears that directors have more knowledge and understanding of concepts relating to the horn that are common to all brass instruments as opposed to concepts associated specifically with the horn. iv This thesis is dedicated to everyone who has helped inspire and motivate me to make music more than a hobby. I would like to thank family and friends for all their patience and encouragement throughout this process. -
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. -
Brass Makers
Brass Instrument Makers This is a list of all brass instrument makers in the US that I have found information on. I am trying to restrict this to the actual hands-on makers rather than owners or retailers. If you have a name to add to this list, please email me at [email protected]. Last, First Birth Death Worked Years Adams, Nathan 1783 1864 New York City 1824-1828 Dunstable, NH Milford, NH Lowell, MA 1828-1835 Agard, Donald M. 12-21-1926 10-16-2005 Los Angeles, CA Olds & Son, 1951-1954 Los Angeles Fullerton, CA Olds & Son, 1954-1979 Allen, Joseph Lathrop 9-24-1815 9-24-1906 Sturbridge, MA 1838-1841 Holland, MA New York Boston, MA 1842-1847 & 1852-1861 Norwich, CT 1848-1851 New York City 1861-1868 Allmendinger, Karl 4-7-1910 11-27-1989 Brooklyn, NY c1940-c1960 Bischleben, Ger. Florida Anderson, C. A. 1876 ? Elkhorn, WI Holton 1930 = assistant prod mngr Norway Anderson, Malcolm S. 5-22-1910 12-1978 Elkhart, IN 1943-1948, Conn, laboratory & plating Elkhart Elkhart 1948-1975, Anderson Silver Plating Babcock, Inez 1910 ? Elkhorn, WI Holton 1930 = assembler Bach (Schrotenbach), Vincent H. 3-24-1890 1-8-1976 New York City 1918-1928 Baden, Austria New York Bronx, NY 1928-1953 Mt Vernon, NY 1953-1964 Bailey, Ralph Ulrich 4-19-1911 10-21-1995 Elkhart, IN Conn, c1930-after 1940, horn bender Elkhart Elkhart Bailey, Ulrich Harter 8-29-1886 5-1964 Elkhart, IN Conn, c1925-after 1930, horn bender (father of Ralph) Indiana Elkhart Ball, Ralph W. -
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.