Academic literature on the topic 'Concertos (Horn)'
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Journal articles on the topic "Concertos (Horn)"
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TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (August 30, 2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.
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ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.
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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Green, Edward. "Interview with Composer George Tsontakis." ICONI, no. 2 (2020): 38–49. http://dx.doi.org/10.33779/2658-4824.2020.2.038-049.
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This interview for the journal ICONI, taken by Dr. Edward Green, Professor at the Manhattan School of Music, is with one of the leading composers of the United States, George Tsontakis. A professor at Bard Conservatory of Music, he is the recipient of numerous awards for his work, including the prestigious Grawmeyer Award for his Second Violin Concerto. Professor Tsontakis’ work — nearly all of it commissioned — is wide-ranging in terms of genre, imaginative in its orchestrations, and always strongly emotional. Included in this interview are discussions of some of the biographical background to a number of his major pieces, including The Past, The Passion. Among the subjects discussed is the meaning of “concerto.” Several of his concertos and concerto-like compositions are specifically discussed in this interview, including Man of Sorrows (piano), and Sonnets (English Horn). The interview also touches upon his relations with two important American composers of earlier generation: George Rochberg, and Roger Sessions — who had been Tsontakis’ teacher of composition at Julliard.
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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.
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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.
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Rakochi, Vadym. "TIMBRAL ALTERNATIONS IN TCHAIKOVSKY’S VIOLIN CONCERTO AS A MULTIFUNCTIONAL SYSTEM." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 257–61. http://dx.doi.org/10.32461/2226-3209.2.2021.240077.
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The purpose of the article is to consider the alternations in Tchaikovsky’s Violin Concerto as a multifunctional system. The methodology includes score analysis as a way to determine the functions of different instruments in the Concerto and variants of their interaction; stylistic analysis is applied in order to highlight the specific features of the presentation in the orchestra of Tchaikovsky; comparative method allows us to compare the features of the orchestra in different concertos of other composers. The scientific novelty lies in the interpretation of the alternations in the Violin Concerto as an interconnected system with multifaceted influence. This paper aims to examine timbral alternations in the Concerto. On the first layer, there are alternations as a means to expose musical material: the change of timbre becomes an impetus to deploy the theme. On the second layer, there are alternations as a means of expression: a lyrical mood receives a touch of joy, a dramatic component strength, the foreground/background comparisons give a three-dimensional effect. On the third level, the alternations have form-defining function. They mark the end of a section when thematically different but emotionally identical material appears; recall the ‘remote alternations’ (tutti – tutti frame the development in the first movement). On the fourth layer, the alternations reflect Tchaikovsky’s style: his reliance on the strings’ timbers, particular attention to woodwind instruments and the horn, and a number of ‘in-the-orchestra’ soloists. Conclusions. The alternations enhance the concertizing effect, enforce the timbre and texture contrasts, add particular dynamization, and contribute to the active involvement of the orchestra in a development process by making the interaction between the soloist and the orchestra, and within the orchestra itself, much more expressive. Such a diversity of alternations creates a multifunctional system that became a distinctive feature of the Concerto.
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Adlington, Robert, Holloway, Kovacic, Tuckwell, SCO, Bamert, Ligeti, et al. "Violin Concerto; Horn Concerto." Musical Times 136, no. 1825 (March 1995): 163. http://dx.doi.org/10.2307/1004015.
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Gîscă, Petrea. "7. Franz Joseph Strauss, a Joachim of the Horn." Review of Artistic Education 1, no. 23 (April 1, 2022): 53–60. http://dx.doi.org/10.2478/rae-2022-0007.
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Abstract Franz Joseph Strauss was one of the brightest horns of the 19th century. He was born in Germany and worked all his life in Munich, being a first - horn player, composer, conductor and teacher. As a composer he wrote two concerts for horn and orchestra and several pieces for horn and piano, most of them, the author singing them in the first absolute audition. As a teacher, he participated in the creation of a German horn school, and his studies for natural horn are still valid today. Difficult and sometimes misunderstood by musicians of the time, Franz Strauss remains a landmark in the history of the horn and a legend in the art of horn performance.
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Jeurissen, Herman. "Mozart's Very First Horn Concerto." Historic Brass Society Journal 3 (1991): 48–55. http://dx.doi.org/10.2153/0119910011006.
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Gibson, Ronnie, and Michael Talbot. "Mudge's Medley Concerto." Journal of the Royal Musical Association 144, no. 1 (2019): 1–28. http://dx.doi.org/10.1080/02690403.2019.1575587.
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AbstractA previously unnoticed concerto for two horns and strings published anonymously in London probably in late 1757 or 1758 is attributable to Richard Mudge (1718–63), a clergyman-composer best known for his Six Concertos in Seven Parts. The print names it A Concerto Principally Form'd upon Subjects Taken from Three Country Dances, and there is evidence to suggest that it is identical to the Medley Concerto listed elsewhere under Mudge's name. The concerto can in turn be linked to so-called ‘Medley Concerts’ that took place in London in 1757. The country dances, on whose material Mudge draws with obvious respect for the originals, are all Scottish tunes found in James Oswald's slightly earlier collections. Mudge's original and attractive work testifies to the great interest in Scottish, in particular ‘Highland’, music in mid-eighteenth-century London, prompting reflection on the many-sided and surprisingly intimate relationship that then existed between traditional music and art music.
Dissertations / Theses on the topic "Concertos (Horn)"
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Stewart, Brandon (Brandon Gregory). "Horn Concerto in E-flat Major (C41) by Antonio Rosetti: A Critical Edition." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609216/.
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This project delivers to the scholar and performer a critical edition of a little-known horn concerto by Antonio Rosetti. Standing in contrast to performance or practical editions, critical editions demand that the editor exerts a non-trivial measure of authority over the state of the text. Performers often find this fact to be uncomfortable given the normal tendency to revere the perceived intent of the composers based upon the text that they set down. When engaging with sources, it is rarely clear what that intent is, or which of the available sources most closely represents that intent. Those available sources often disagree with one another, even those in the composer's own hand. It is vital for the editor to know, as precisely as is possible, who created the source material, when they created these sources, and why they created these sources. At that point the editor must decide which sources will best fit his or her framework for the creation of the critical edition. At that point the editor will grapple with numerous inconsistencies and ambiguities within those sources, and then use his or her own authority to fix the text of the composer's work into a single version for today's use. The Horn Concerto in E-flat Major (C41) by Rosetti presents a unique case to the editor, scholar, and performer, in that it exists in two versions that carry substantial differences in the solo part. These differences are so great that it is often difficult to consider them as representative of the same work. This edition presents both versions, as each have different original purposes, and edits them in parallel so that the performer may determine which usage is most appropriate for his or her needs.
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Berenguer, Caro Mónica. "Interpretation of Mozart Horn concertos with an historical view." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2699.
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This thesis is an historical, thechnical dn stylistic investigation of Mozart horn concertos. It includes a description of Mozart's life; the moment in his life where the concertos were developed. It contains information about Inaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limis instrument, as well as the way of the interpretation of these pieces had beed facilitated by the arrival of the chromatic horn. I found out that the knowledge of these concertos is essential for their interpreation.
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Adamson, Daniel. "A Comparative Analysis of Haydn's Horn Concerto and Trumpet Concerto." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862771/.
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Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently marked by a loosening of compositional constraints, including freer formal procedures, instrumentation, harmonic structures, and an increase in chromaticism (aided by the new chromatic abilities of the trumpet). This document provides an in-depth comparative analysis within an often overlooked genre of music and gives insight into changes in Haydn's compositional style and the concerto genre.
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Esperilla, Efrain E. "La primavera concertino for English horn and chamber orchestra /." connect to online resource, 2002. http://www.library.unt.edu/theses/open/20021/esperilla%5Fgarcia%5Fefrain%5Fernesto/index.htm.
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Smith, Erin. "An Annotated Bibliography of American Oboe Concertos." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522354544099437.
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Leverenz, Anna. "The Debated Authenticity of Franz Joseph Haydn’s Concertos for Horn: An Historical and Theoretical Approach to Attribution." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1319487744.
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Esperilla, Garcia Efrain Ernesto. "La Primavera: Concertino for English Horn and Chamber Orchestra." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3148/.
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La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is conceptually based on the idea that spring is not the first of the seasons, but rather the last. As a result, all of its motivic materials are organically linked to one another, and function as paired forces that struggle for supremacy. The introduction of the third motive functions as a motivic synthesis, since it contains intrinsic elements of previous motives. There are several important compositions based on the topic of the seasons among them we find: Vivaldi's Concerto Grosso Le Quatro Staggione, Haydn's oratorio The Seasons, and Piazzola's chamber work Las Estaciones. While researching this topic, the conceptual dilemma of spring as the last season was considered. This became a turning point in the compositional process strong enough to consider the spring as a singular topic of interest. The analysis of this work through Derrida's Deconstruction theory first came to me while reading Rose Rosengerd Subotnick's Deconstructive Variations: Music and Reason in Western Society. The Linguistic approach, was inspired in part by Leonard Bernstein's lecture “The Unanswered Question,” and Jean J. Nattiez's Music and Discourse: Toward a Semiology of Music.
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Misner, Michael Shawn. "A historical and analytical discussion of Reinhold Glière's Concerto for horn and orchestra, op. 91." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008247.
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Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.
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This is a compilation of the music performed at the graduation recital of John
Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were
four pieces performed that afternoon including Azimuth for viola, clarinet and
marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a
Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of
Thomas Gray. Moments is a set of three pieces for woodwind quintet written in
1990. Viola Concerto is in three movements and was written in 1991 for Reg
Quiring, a former U.B.C. student. The concerto is scored for solo viola and
chamber orchestra. A cassette copy of the recital is available with this book.Arts, Faculty of
Music, School of
Graduate
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Richards, Paul Sidney 1969. "Concerto for Horn and Orchestra (Original composition)." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/292008.
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This three movement work, in roughly the classical concerto mold, is designed to explore the combinatorial and soloistic color possibilities of the horn with a chamber orchestra accompaniment. This instrument-oriented composition is reflected in both the structure and substance throughout. Each individual movement focuses on a different aspect of the horns capabilities (broad range in movement I, "singing" quality in movement II, and virtuosic potential in movement III). Harmonies and motives are likewise derived from the horn itself, including it's historic "hunting-horn" origins, as well as the chromatic potential of the natural overtone series. This work was commissioned by the Catalina Chamber Orchestra with soloist Jacqueline Sellers, and premiered in Tucson, Arizona on March 7, 1993.
Books on the topic "Concertos (Horn)"
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A discography of 78 rpm era recordings of the horn: Solo and chamber literature with commentary. Westport, Conn: Greenwood Press, 1997.
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Weyse, Volker. Solo-Horn und Blasorchester: Verzeichnis von über 200 Solowerken für ein oder mehrere Hörner (inklusiv Jagdhorn, Signalhorn, Alphorn, Lure) und Blasorchester. Wien: Kliment, 2000.
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Kling, Henri. Concerto brillante: Horn and piano. San Antonio: Southern Music, 1987.
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Zwilich, Ellen Taaffe. Concerto for horn and string orchestra. Bryn Mawr, Pa: Merion Music, 1995.
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Amadeus, Mozart Wolfgang. Konzert in Es für Horn und Orchester KV 417 =: Concerto in E-flat major for horn and orchestra. Kassel: Bärenreiter, 1990.
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Swift, Richard. Second concerto for piano and chamber ensemble (1980). Albany, Calif: J.B. Elkus & Son], 1994.
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Gould, Morton. Concerto concertante: Solo violin, woodwind quintet, piano. [New York]: G. Schirmer, 1990.
Find full textBook chapters on the topic "Concertos (Horn)"
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Fiala, Michele. "Grover Schiltz." In Great Oboists on Music and Musicianship, 209–23. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0020.
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Grover Schiltz was one of the Chicago Symphony Orchestra’s longest-serving members, from 1959 until his retirement in 2005. He played assistant principal oboe until 1964 and served as principal English horn from 1964 to 2005. In this interview, he discussed warming up, technique, breathing, breath control, and vibrato. He provided advice on reeds, auditions, how to prepare for a performance, and tone production. He talked about the differences in performance between oboe and English horn. He offered advice how to teach musicianship, the nature of talent, and Baroque ornamentation. He shared which artists inspired him, reminiscences about his greatest concerts, and his observations on how the American style changed during his career.
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Upitis, Rena. "Performance." In This Too is Music, 59–68. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0006.
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This chapter introduces the many ways of experiencing live performance in school settings, with special emphasis on one of the main performance venues that was developed at the school where the activities described in this book took place. The school’s short, weekly “recess concerts” featured a variety of works, including guest performances by vocalists, flautists, and a French horn player from the community. Children played recorders, Orff instruments, piano, and flute, and they sang and narrated computer compositions, featuring both their own compositions and other repertoire. In emulating concert-going behavior outside of school, children were required neither to attend nor to perform. The role of audience members, as both supportive and critical, is also discussed in terms of creating a culture for children’s compositions. The nature of an informed audience, with ways of fostering such an audience through classroom interactions, is a construct that is woven throughout the chapter.
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Pring, Jamie. "Towards a More Integrated Approach? Cooperation Among the UN, AU and IGAD in Mediation Support." In Rethinking Peace Mediation, 261–84. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208191.003.0013.
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This chapter argues that the interaction of organizational norms and interests influences an organizations’ willingness to lead, collaborate, or compete in mediation processes. Examining the interactions of the United Nations, African Union, and the Intergovernmental Authority on Development (IGAD) in the Horn of Africa, the chapter finds that while functionalist explanations for cooperation among mediation actors are dominant in the field, they don’t adequately account for cooperation in all types of mediation support. Crucially, functionalist approaches overlook geopolitical and normative factors crucial in forging cooperation in operational support to on-going mediation processes. Therefore, in addition to functional concerns, norms and interests also need to be considered in working towards deeper integration.
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Bernstein, Lawrence F. "The First Movement: Development and Recapitulation." In Inside Mahler's Second Symphony, 42–65. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197575635.003.0003.
Full textAbstract:
Chapter 3 shows Mahler’s dual approaches to the form of the movement. Sometimes, sonata form takes the lead; sometimes, the existential agenda is in control. Mahler shows a predilection for dramatic extremes. He fixates on the lyrical secondary theme to project a fortuitous resolution of the symphony’s existential concerns, but often undercuts such moments by returning suddenly to the more angst-ridden music of his existential issues. A rhetoric of antithesis results. Mahler’s fondness for musical conundrums is considered: the English horn inexplicably introduces a bare-boned motive that only in the finale will evolve into a central event of the symphony. Musical quotations laden with symbolic significance—from Wagner’s music dramas, Gregorian chant, and Mahler’s own music—are examined. The chapter concludes by considering the impact of Hans von Bülow’s annihilating criticism of the first movement on Mahler’s long delay in completing the Second Symphony.
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Pozhidaeva, Galina A. "Spiritual and Musical Culture of Russia in Its Relations with the Typology of National Musical Art." In Hermeneutics of Old Russian Literature. Issue 21, 527–46. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-527-546.
Full textAbstract:
The article reveals the importance of sacred music of the late Russian Middle Ages (15th–17th centuries) for the formation of the most important typological qualities of Domestic professional music. The advanced development of subvocal polyphony in professional music in comparison with folklore is shown. On the material of the choral classics of the 20th century — All-Night Vigil by S.V. Rachmaninov and the concert Pushkin Wreath by G.V. Sviridov — it is shown that the basic of the Russian musical classics of the 20th century, along with folklore, was created by the spiritual music of Orthodox worship, its choral culture. She identified many typologically important features of Russian professional music — this is the vocal nature of thematism, subvocal polyphony, the use of sound of choir a capella and its timbre capabilities instead of orchestra. In the music of the 20th century, professional traditions of the Russian Middle Ages are continued in the development of intonation fund of chants, subvocal polyphony, and performing culture of choral singing. The latter is manifested in an expanded slow pace, clear diction, chain breathing, multilayered choral texture, dating back to the Baroque era, but even more complex, dynamic features of liturgical singing of patriarchal choir, dating back to the end of the 16th century. The preservation of performing features has a great importance: internal concentration and prayerful fullness of choral singing, which turn the modern listener to the monastic tradition with its self-deepening in prayer. This already expresses the mental depths of Russian consciousness that have developed thanks to the Orthodox spiritual culture.
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Milnes, Tim. "The Conversable Intellect." In The Testimony of Sense, 109–44. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198812739.003.0003.
Full textAbstract:
Hume’s rhetorical concerns underscore the ways in which the pragmatic turn in British counter-Enlightenment thought is also, in a broad sense, a linguistic turn. His understanding of the necessity of trust in sustaining the fictions of belief necessary for communication undermines the conception of meaning as representation in ways that enable thinkers like Reid and Bentham to model human thought around the pragmatics of communication. Nonetheless, Hume’s linking of truth and the social conventions of language divides common-sense thinkers like Reid and Stewart (who interpret such indispensable conventions as first principles) from materialists such as Bentham and John Horne Tooke (who see Hume’s fictions of belief as, at best, pragmatically necessary). What unites Hume, Tooke, and Bentham is their vision of language as the source of what Bentham calls ‘logical fictions’, fictions that are at once philosophically unjustifiable and necessary for coherent thought.
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Kopeleva, Galina. "La civilisation française dans le cadre des événements culturels étudiants à l’Institut de la culture d’État de Saint-Pétersbourg." In Quelles compétences en langues, littératures et cultures étrangères ?, 41–50. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3880.
Full textAbstract:
’apprentissage d’une langue étrangère ne se limite pas à l’accumulation de connaissances linguistiques, c’est aussi la découverte d’une civilisation étrangère. Les établissements d’enseignement supérieur consacrant peu d’heures aux langues étrangères, les manifestations hors-cursus à caractère culturel ou festif jouent, de ce fait, un rôle très important. Au cours de chaque année académique, le département des langues étrangères et de linguistique de l’Institut de la culture de Saint-Pétersbourg organise des événements culturels étudiants récurrents tels que l’« Examen-concert à la faculté des arts », le « Festival de l’amitié internationale, la « Soirée de la traduction poétique ». Au cours des deux premières manifestations, les participants montent sur scène et présentent au public un vrai spectacle de variétés en langues étrangères. Une part belle y est faite aux arts de la scène (théâtre, musique, chanson, danse), mais d’autres disciplines artistiques dont le cinéma, la poésie, la photographie sont aussi au rendez-vous. La soirée de la traduction poétique, plus intime, est un récital où sont présentés, traduits en russe, des poèmes et des chansons. Les étudiants qui apprennent le français comme première ou seconde langue et qui prennent part à ces manifestations s’initient à la culture et à la civilisation françaises. Au cours des années, ce procédé didactique s’est révélé très motivant. Les apprenants sont ainsi incités de manière stimulante à approfondir leurs connaissances et compétences linguistiques pour communiquer en français dans leur futur milieu professionnel.
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Loveland, Donald W., and Gopalan Nadathur. "Proof Procedures for Logic Programming." In Handbook of Logic in Artificial Intelligence and Logic Programming: Volume 5: Logic Programming. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780198537922.003.0006.
Full textAbstract:
A proof procedure is an algorithm (technically, a semi-decision procedure) which identifies a formula as valid (or unsatisfiable) when appropriate, and may not terminate when the formula is invalid (satisfiable). Since a proof procedure concerns a logic the procedure takes a special form, superimposing a search strategy on an inference calculus. We will consider a certain collection of proof procedures in the light of an inference calculus format that abstracts the concept of logic programming. This formulation allows us to look beyond SLD-resolution, the proof procedure that underlies Prolog, to generalizations and extensions that retain an essence of logic programming structure. The inference structure used in the formulation of the logic programming concept and first realization, Prolog, evolved from the work done in the subdiscipline called automated theorem proving. While many proof procedures have been developed within this subdiscipline, some of which appear in Volume 1 of this handbook, we will present a narrow selection, namely the proof procedures which are clearly ancestors of the first proof procedure associated with logic programming, SLD-resolution. Extensive treatment of proof procedures for automated theorem proving appear in Bibel [Bibel, 1982], Chang and Lee [Chang and Lee, 1973] and Loveland [Loveland, 1978]. Although the consideration of proof procedures for automated theorem proving began about 1958 we begin our overview with the introduction of the resolution proof procedure by Robinson in 1965. We then review the linear resolution procedures, model elimination and SL-resolution procedures. Our exclusion of other proof procedures from consideration here is due to our focus, not because other procedures are less important historically or for general use within automated or semi-automated theorem process. After a review of the general resolution proof procedure, we consider the linear refinement for resolution and then further restrict the procedure format to linear input resolution. Here we are no longer capable of treating full first-order logic, but have forced ourselves to address a smaller domain, in essence the renameable Horn clause formulas. By leaving the resolution format, indeed leaving traditional formula representation, we see there exists a linear input procedure for all of first-order logic.
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Mitchell, Peter. "North America II: The Central and Northern Plains." In Horse Nations. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780198703839.003.0010.
Full textAbstract:
The Central and Northern Plains are home to many of the peoples popularly considered quintessential Native Americans. First brought to the widespread attention of Europeans and Euro-Americans as the ‘noble savages’ of nineteenth-century romantic paintings and travel accounts, they were later stereotyped in dime novels and Hollywood movies as an inconvenient—and ultimately removed—barrier to white expansion and settlement. Only relatively recently has that image given way to the more rounded, if still over-romanticized, one seen in films like Dances with Wolves. However, the extrapolation of Plains equestrian groups as a generalization for all Native Americans is not the reason to focus on them here. rather, it is because of the great wealth of evidence—ethnographic, historical, and archaeological—that relates to the impacts on them of the horse. Those impacts affected village-based farming communities along the Missouri river and its tributaries as well as the mobile societies of the open grasslands. Using evidence from both, I look at how having horses affected the ways in which people hunted bison, moved themselves and their goods, and structured their use of the landscape, as well as at how changing patterns of warfare and trade influenced the broader organization of society. These topics also relate to several broader issues. One is the relationship between the horse and two other agents of change: the spread of firearms and the involvement of Native peoples in trading furs and bison robes to Europeans. Another concerns the different responses to the horse by those who used it to enhance a mobile hunting way of life and those who sought to integrate it within an economy and social system in which horticulture and permanent settlements were paramount. A third relates to the ecological constraints on people’s ability to keep horses on the Plains: what were they? What was done to mitigate them? And how did they affect the region’s history between the initial acquisition of horses in the early 1700s and the loss of independence that followed the Battle of the Little Big Horn in 1876 and culminated with the Wounded Knee Massacre of 1890?
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Fischer, Stephen. "Roberto Milano. Cuatro Concertinos. ©2020 Conservatorio de Música de Puerto Rico. 951 Ave. Ponce de Leόn, San Juan, Puerto Rico 00907. www.cmpr.edu. Kathleen Jones, clarinet, Joshua Pantoja, horn, Josué Casillas, flute, Edgar Abraham, saxophone, and Orquestra de Cuerdas del Conservatorio de Música de Puerto Rico, Emanuel Olivieri, director." In The Saxophone Symposium, 98–99. Boydell & Brewer Ltd, 2021. http://dx.doi.org/10.2307/j.ctv2524xf6.14.
Full textConference papers on the topic "Concertos (Horn)"
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Caswell, Daryl. "A Musical Use for the Haar Function Wavelet." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-85713.
Full textAbstract:
The utility of the Haar function wavelet has long been dismissed due to its inability to transpose between the time domain and the frequency domain. However, the Haar function possesses attributes that make it an ideal wavelet for certain applications. In this paper, we explore the use of the Haar function as a means to expose aspects of musical tone that are not available through other sound analysis techniques. Specifically, the method presented here was used to identify the differences in the tone of the French Horn created by different acoustically reflective surfaces placed in the near field of the horn bell. The fundamentals of the Haar function wavelet are described and its use as a signal analyzer is explained. Results are shown that demonstrate the effect of two different kinds of sound reflectors constructed for a major North American concert hall.
Reports on the topic "Concertos (Horn)"
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Delgado, Caroline, Kristina Tschunkert, and Dan Smith. Food Insecurity in Africa: Drivers and Solutions. Stockholm International Peace Research Institute, January 2023. http://dx.doi.org/10.55163/gisr2785.
Full textAbstract:
This paper explores how climate change, violent conflict, the Covid-19 pandemic and the cost-of-living crisis combine to drive rapidly increasing levels of food insecurity. These drivers play out differently across and within regions and countries, and this paper focuses on how a combination of the drivers plays out on the African continent. It looks at four subregions—North Africa, the Horn of Africa, the Sahel, and Central and Southern Africa—and several countries within these regions. Africa is the continent with the highest proportion of people—just over 20 per cent— facing hunger. Africa also carries the heaviest burden from the impact of climate change. In 2021 18 countries in sub-Saharan Africa experienced armed conflicts. The economic fallout of climate change, conflict and the Covid-19 pandemic has widened inequality and sharpened societal divisions. Addressing the impacts of these compounding crises and breaking the vicious cycle of climate change, food insecurity and conflict requires a concerted effort by local, national, regional and global humanitarian, development and peacebuilding actors, governments and donors. To this end, the paper concludes with nine recommendations on the way forward.