Dissertations / Theses: '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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8

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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10

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.

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Knechtel, J. Beaumont. "Horn Outside the Concert Hall| Nontraditional Implementation of the Horn." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784448.

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The horn is renowned for its contributions to traditional orchestral repertoire and concert hall performances. Since its induction into the symphony, its uses outside the concert hall have been diverse albeit comparatively sparse. However rare, its implementation still spans from the high arts, to world of pop, and to the avant-garde. In 1976, the haunting, sonorous timbre of Peter Gordon's legendary solo horn would inspire Jaco Pastorius to feature it on his titular album. This paper will analyze and define key nontraditional uses of the horn, discuss the effects of non-notated performance practice on the hornist, provide method studies for improving non-notated performance, and demonstrate how the horn's employment as a compositional, improvisational, and accompanimental instrument, independent of strictly notated music, will help hornists to best perform Jaco Pastorius's Okonkole y Trompa.

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Yang, Xiaoke. "HIP and the “Mainstream”: Implications of Historically Informed Performance on Contemporary Horn Performance in Mozart’s K. 447." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/24099.

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This study explores the implications of the natural horn on the modern horn and incorporates an historically informed analysis of Mozart’s Horn Concerto No. 3, K. 447. The concerto has become one of the most common in the audition repertoire, with most modern horn players approaching the piece in a conventional manner. Such an approach fails to capture many of the nuances of the piece when performed on the natural horn. However, in the highly competitive audition environment, auditioning on the natural horn or using historical techniques on a modern instrument is fraught with challenges. First, I look at the issue of instrumentation, examining the implications of performing on the natural horn and the associated challenges in bringing these techniques to a modern instrument. Second, I survey the discography of the work and analyse recordings of the concerto over the last sixty years. I also examine ornamental and expressive traditions of historical scholars such as Türk and Quantz. The final section consists of an annotated score and applies some implications of this study to an analysis and interpretation of the piece.

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13

Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.

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Spidell, Rachel M. "Reexamining Richard Strauss's Second Horn Concerto as a Significant Contribution to Twentieth-Century Music." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262588.

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In 1941 Richard Strauss composed his second horn concerto. Weary from trying to remain in the good favor of the Nazi government, Strauss composed several works late in life that he merely described as “wrist exercises” that were only for the benefit of his estate. The first of these pieces was the Second Horn Concerto. Often labeled as a return to his past, this paper asserts that upon further examination the work is much more advanced than is often labeled.

Richard Strauss has been labeled by music historians as a neo-Romantic, despite much of his work being composed during the twentieth century. This designation has precluded even his more progressive works from further study as modern compositions. However, upon reexamination of several of his works, more specifically the Second Horn Concerto, it is evident that Strauss could be considered as belonging to the canon of modern composers.

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15

Michal, Joshua Paul. "The Expressive Phrasing Concepts of Marcel Tabuteau Applied to Concerto in Eb Major for Horn and Orchestra, K. 417 by W.A. Mozart." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406050637.

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Laursen, Amy D. "Determining the Authenticity of the Concerto for Two Horns, Woo 19, Attributed to Ferdinand Ries." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822748/.

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Ferdinand Ries is credited as the composer of the Concerto for Two Horns, WoO. 19 preserved in the Berlin State Library. Dated 1811, ostensibly Ries wrote it in the same year as his Horn Sonata, Op. 34, yet the writing for the horns in the Concerto is significantly more demanding. Furthermore, Ries added to the mystery by not claiming the Concerto in his personal catalog of works or mentioning it in any surviving correspondence. The purpose of this dissertation is to study the authorship of the Concerto for Two Horns and offer possible explanations for the variance in horn writing. Biographical information of Ries is given followed by a stylistic analysis of Ries’s known works. A stylistic analysis of the Concerto for Two Horns, WoO. 19 is offered, including a handwriting comparison between the Concerto for Two Horns and Ries’s Horn Sonata. Finally, possible explanations are proposed that rationalize the variance in horn writing between the Concerto for Two Horns, WoO. 19 and Ries’s other compositions that include the horn.

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17

Collins, Alan, Gavin Fraser, and Jen Snowball. "Could a regulated market approach for rhinoceros horns work in South Africa? Some practical issues and concerns." Economic Society of South Africa (ESSA), 2013. http://hdl.handle.net/10962/68600.

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Publisher version
One of the proposals for fighting rhinoceros poaching is to legalise the trade in rhino horn and adopt a regulated market approach (RMA), which would require a vote at the 2016 CITES meeting in order to overturn the ban on the trade in rhino horn. The legal trade in rhino horn would enable the auctioning of stockpiles of horn and encourage captive breeding programmes. The aim of increasing the supply of horn is to reduce incentives to poach by driving down the price. This paper uses a conceptual/theoretical approach to consider the practical implications of the adoption of an RMA, drawing on demand, supply and production theory. The intention is explicitly to set out some practical concerns and issues that seem to have been underplayed or neglected in most published economic discourse on the subject. To secure a stockpile for some species needs biological success in captive breeding programs (CBPs) but this varies across species and habitats. Rhinoceros herds in a CBP would need relatively spatially extensive terrain and costly permanent security measures, and only appear feasible for the less aggressive “white” rhino. Thus, market price would actually need to be sustained at a high level to cover the start-up and security costs of such a programme that are unlikely to fall significantly. This is a double-edged sword in that the persistent high price of rhino horn provides an incentive for continued poaching activities. Supplementary policy measures that differentiate among consumer groups may also prove necessary.

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18

Predmore, Michele. "Master's thesis recital (horn)." Thesis, 2013. http://hdl.handle.net/2152/23271.

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Fraser, Andrew L. "Doctoral thesis recital (horn)." Thesis, 2013. http://hdl.handle.net/2152/23904.

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Nocturno, op.7 / Franz Strauss -- Alpha / Jean-Michel Defaye -- Six suites for unaccompanied violoncello / J. S. Bach -- Concerto / Reinhold Gliere -- Berceuse, op.19 / Jean-Michel Damase -- Alla caccia / Alan Abbott.
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20

Dewhirst, Michelle McQuade. "Chiasmus : chamber concerto for horn /." 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3060241.

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Stanton, Zachary Kane. "Doctoral thesis recital (composition)." 2011. http://hdl.handle.net/2152/17035.

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Vera, Felipe. "Doctoral Thesis Recital (horn)." 2012. http://hdl.handle.net/2152/19547.

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Hart, Hilary Brain Dennis Conlon Frank Sato Erika Rakers Michelle A. "Dedications for Dennis Brain a musical exploration of his additions to the repertoire of the French horn." 2007. http://hdl.handle.net/1903/9734.

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Misner, Michael Shawn 1968. "A historical and analytical discussion of Reinhold Glière's Concerto for horn and orchestra, op. 91." 2001. http://hdl.handle.net/2152/12839.

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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Tien, Chung-Yi, and 田忠義. "Introduction Natural Horn and An Analysis of Mozart's 《 Horn Concerto No﹒3 》." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/64988696516849699442.

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Lu, I.-Ting, and 盧怡婷. "Analysis and Interpretation of Glière Concerto for Horn." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/j3k7ud.

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Liu, Ting-Chun, and 劉亭君. "An Analysis and Interpretation of Richard Strauss: Horn Concerto No.1 in E-flat Major, Op. 11 and Paul Hindemith: Horn Concerto." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/dyp8dv.

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碩士
國立新竹教育大學
音樂學系碩士班
104
This thesis mainly illustrates Richard Strauss: Horn concerto no.1 in E-Flat Major, Op.11, in which it shows a detachment from the traditional fixed framework in its harmony and the design of form of music. Besides its free syntactic structures of conveying the theme, it also shows boldness in the transformation of atonality and the usage of the harmony. This frequent usage of tonicization and chromatic chord, which makes it harder for audience to identify the clarity of atonality. Paul Hindemith uses atonality and harmony, boldly adopting the thinking of Pitch centricity in its compose of horn concerto. However, this is quite a challenge, because Pitch centricity is a very important composing method to break the traditional atonality at that time. The concept of Pitch centricity is much freer than that of atonality, for it can run a wide range of harmony and scale.

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Shiu, Kuan-Yun, and 胥灌筠. "Kuan-Yun Shiu Horn Recital(with a Supporting Paper: Gordon Jacob's Concerto for Horn and Strings--Interpretation and Analysis)." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/29633692432227630192.

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碩士
國立交通大學
音樂研究所
96
This thesis focuses on the music of the twentieth-century British composer, Gordon Jacob, and his Concerto for Horn and Strings. Through an understanding of Gordon Jacob’s life, his compositional styles, and a detailed analysis of his Horn Concerto, the author attempts to seek an ideal manifestation in interpretation.

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Cheng, Chu-Ching, and 程筑卿. "An Analysis and Performing Interpretation of Richard Strauss Horn Concerto No.2." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/665ja6.

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YANG, WEN-CHIN, and 楊文欽. "The Analysis and Interpretation of Gordon Jacob: Concerto for Horn and Strings." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/uq7k4r.

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碩士
國立臺北教育大學
音樂學系碩士班
104
Gordon Jacob is one of the most important Britain composers of the Twentieth Century. The work includes three movements, is composed for Horn and Strings. The thesis is divided into five chapters. Chapter 1 is introduction, including “the motivation and purpose of research”; “range and method of research”. Chapter 2 summarizes of Jacob’s life, including “biography” and “composition style”. Chapter 3 is music analysis of this concerto, and will study in music structure, motivation material of theme, and composing method. Chapter 4 is performance interpretation of this concerto. Chapter 5 is conclusion;summarize all the points of view in this thesis. I hope this paper can help other horn players to interpret this work in the future.

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Liu, Pei-Ying, and 劉佩穎. "The Analysis and Interpretation of Richard Strauss Horn Concerto in E-flat No.2." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/86424637178309920543.

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碩士
國立臺北教育大學
音樂學系碩士班
101
Twentieth-century music gradually turned from over-complex romantic to classical delicate and symmetrical style. Richard Strauss had undergone this dramatic changes. Being outstanding in the Romantic School, he made good use of the counterpoint skills, tonality conversion and style transforming. “Horn Concerto No. 2” is the creature of this romantic mode transformation, fusing both romantic and classical style. This piece occupies an important position of the French horn repertoires. This thesis is divided into five chapters. Chapter 1 is an introduction, explaining the research motivation and purpose. Chapter 2 is an introduction to the life and creative style of composer Richard Strauss. Chapter 3 is an attempt to analyze and interpret the music “Concerto for Horn”, analyze the musical structure, motivation and creative approach. Chapter 4 is an attempt to use the analytical results to serve as the interpretation basis to give the suitable interpretation in instrumental performances. Chapter 5 is the conclusion and reflections in this work.

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Chen, Szu-Yu, and 陳思宇. "The Analysis and Interpretation of Richard Strauss Horn Concerto in E-flat No.2." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/76430557163836288506.

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Ho, Yi-Ching, and 何怡慶. "The Analysis and Interpretation of Richard Strauss Horn Concerto in E-flat No.2." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/72971049095014449479.

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Yu, Kuan Hung, and 余冠宏. "The Interpretation and Analysis ofRichard Strauss Horn Concerto No.2 in E–flat major." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/39626375267072647629.

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碩士
中國文化大學
音樂學系西洋音樂組
102
Abstract 1、Collect information and integrate： Make a integrate of these informations ， for example： Literature data、related papers and internet informations﹒ 2、Biography of the composer and the motivation of composing this piece： By this way to learn more about the biography of the composer and the motivation of composing this piece，In order to achieve a deeper understanding of this piece﹒ 3、Make an analysis of this piece： Collect musical score and make an analysis of each movement﹒ 4、Performing interpretation Collect musical score and make an interpretation of each movement﹒

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Chiang, Hsin-Yu, and 江忻瑜. "The Analysis And Interpretation Of Othmar Schoeck’s Concerto For Horn And Strings, Op. 65." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/23458206620981322786.

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碩士
輔仁大學
音樂研究所
100
Othmar Schoeck (1886-1957), a German composer master in vocal pieces, particularly in art songs, cycle songs and operas, is strongly influenced by many composers, leading to a process of changing in his music style. In Schoeck’s early age, his music style belongs to Romantism and post-Romantism. However, during the First World War, Schoeck was impressed by multiple cultures and modern music, making him started to give up his conservative composing technique and embraced modern styles. Schoeck changed his music style by adopting Polytonality, Polyrhythm and Serialism; and even composed operas with brand-new styles. Unfortunately, this new creative approach did not popularly accepted by the audiences, resulting Schoeck composing tonal music again. However, it is this experience letting Schoeck finally found out his own music style—which combines the elements of both traditional and modern music; and won German’s hearts by fully demonstrates his charm of music. This thesis is mainly focuses on the analysis and interpretation of Schoeck’s Concerto for Horn and Strings, Op. 65. The contents are divided into five chapters—Chapter one, introduction; chapter two, the backgrounds of Othmar Schoeck; chapter three, the analysis of the form, tonality, and practices of Concerto for Horn and Strings, Op. 65; chapter four, the peforming skills and interpretation of Concerto for Horn and Strings, Op. 65; chapter five, Conclusion. Hoping that through this paper, the audiences or the musicians may understand Othmar Schoeck and Concerto for Horn and Strings in a more professional way.

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Liu, Wanhsin, and 劉琬心. "A Study of Glière’s Concerto for Horn and Orchestra in Bb Major, Op. 91." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/45995742087562916197.

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Lin, Wen-Hui, and 林文慧. "An Analysis and Interpretation of Wolfgang Amadeus Mozart's Horn Concerto No.4 K.495." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/58381979010377692054.

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碩士
輔仁大學
音樂研究所
99
Wolfgang Amadeus Mozart (1756-1791,) created lots of well-known and touching movements, occupied a remarkable position in western music history. His works have a great contribution and impact to the history of music, and the amount of his production is also beyond the reach of many other composers. French horn often plays an important role in the works composed by Mozart. Meanwhile, Mozart also composed five concertos for French horn, which results in the promotion of the status of French horn in the brass and in the orchestra, ensuring French horn’s future development. In particular, among the five concertos made by Mozart, “Horn Concerto No.4” not only shows the full, thick and elegant timbre of French horn, but also unrolls French horn’s characteristics completely by applying different materials to alternating repeated changes in music forms. This thesis is divided into 5 chapters to describe the musical style and content of Mozart's“Horn Concerto No.4.”Chapter 1 - Introduction. Chapter 2 - The life and creating style of Mozart. Chapter 3 - Analysis of Wolfgang Amadeus Mozart's Horn Concerto No.4. Chapter 4 - Interpretation of Wolfgang Amadeus Mozart's Horn Concerto No.4. Chapter 5 - Conclusion.

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Chen, Ting-Yi, and 陳庭翊. "The analysis and Interpretation of Reinhold Moritzevich Glière Concerto for Horn and Orchestra opus 91." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/38614989910102083961.

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碩士
國立臺中教育大學
音樂學系碩士班
101
The French Horn Concerto by Reinhold Moritzevich Glière of the Russia was composed in 1951. Glière wrote this concerto in 1951 and dedicated it to Valeriy Polekh. The date and place of the first performance was fixed--May 10, 1951, in Leningrad. The purpose of research is to discuss Glière《Horn Concerto, Op.91 》’s performance style. In chapter one of this article is about research purposes and methods. In the second chapter, describes the growing up of Glière 's and his life story, and the creation background of the musical composition. In the third chapter is directed against the concerto that he created《Horn Concerto, Op.91》entering analysing of this concerto. In the fourth chapter is directed against present author's play annotation explanatory note of this composition. The fifth chapter is conclusions. This concerto was possession of the status of the importance of french horn. This concerto ordeal performer endurance and player skills （like fast Staccato, long phrase legato, con sord. ……）Three movements have different melody stytle, sometimes very beautiful melody, but sometimes very strong. Thus become one of important track of french horn.

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40

Su, Yu-Chen, and 蘇郁晨. "The Analysis and Interpretation of Concerto for Horn in E-flat Major. By Franz Danzi." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/67456997291642639374.

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碩士
輔仁大學
音樂學系
103
Franz Danzi was born in June 15th, 1763 and died in April 13th, 1826, is an Italian German composer, conductor and cellist. He has created three French horn works , namely two pieces of sonata and one piece of concerto. This study tries to explore the only French horn works Concerto for Horn in E-flat major. The main purpose of this study is to explore the style of Franz Danzi’s musical works, understand his life story and growth background, and explore the historical evolution of French horn after 18th century. Concerning musical composition, the study tries to understand various kinds of musical terms, musical structure and melody in musical composition by analyzing the works. Finally, through these studies and exploration, the study conducts in-depth exploration and annotation on the works concerning performance technique

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41

Liang, Ing-Ting, and 梁應婷. "The Interpretation and Analysis of Richard Strauss Horn Concerto No.2 in E-flat major." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/13554764288513530529.

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碩士
國立臺灣師範大學
音樂學系
104
1. Biography of the composer and the motivation of composing this piece: By this way to learn more about the biography of the composer and the motivation of composing this piece, in order to achieve a deeper understanding of this piece. 2. Collect information and integrate: Make an integrate of these information, for example: Literature data, related papers, magazines and internet information. 3. Make an analysis of this piece: Collect musical score and make an analysis of each movement. 4. Performing interpretation: Collect musical score and make an interpretation of each movement.

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42

Tsui, Wen-Yu, and 崔文瑜. "An Analysis and Interpretation of Reinhold Moritsevich Gliere: Concerto for Horn in Bb major, Op.91." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/09829303485084175441.

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43

Chiang, Pin-I., and 江品儀. "The Interpretation and Analysis of "Horn Concerto in E flat Major, no.1, op.11" by Richard Strauss." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/96630355400076337401.

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44

MA, MO-FEI, and 馬莫非. "The Analysis and Interpretation of concerto for Horn in E flat major k.495 by Wolfgang Amadeus Mozart." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/fa55ju.

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碩士
國立臺灣藝術大學
音樂學系
105
The main research purpose of this study is to discuss the interpretation on performing Wolfgang Amadeus Mozart’s “Horn Concerto in E-flat major, K.495” in depth. First, the essay discusses the growing background (family background) of Mozart and his composing methods, then divide his career of music composition into three periods: travel (1756-1773), Salzburg (1773-1781) , Vienna (1781-1791). The present study particularises the differences of Mozart’s composing techniques in each period. Afterwards, it continues discussing the development of horn from early hunting horn to contemporary Rotary Valve in nineteenth century, especially focusing on the different structures under historical environments. The essay further introduces the details of horn in Classical Period of Mozart, then study the creating background of this work. After analysing the structure of the music, the essay provides methods for understanding the styles of the work and the motives in each movement. The final part of this essay includes musical interpretation based on the result of above studies as well as individual experience.

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45

"Concerto for Two Horns in E-flat Major Attributed to Joseph Haydn: A New Arrangement for Wind Ensemble." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.9291.

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abstract: A new arrangement of the Concerto for Two Horns in E-flat Major, Hob. VIId/6, attributed by some to Franz Joseph Haydn, is presented here. The arrangement reduces the orchestral portion to ten wind instruments, specifically a double wind quintet, to facilitate performance of the work. A full score and a complete set of parts are included. In support of this new arrangement, a discussion of the early treatment of horns in pairs and the subsequent development of the double horn concerto in the eighteenth century provides historical context for the Concerto for Two Horns in E-flat major. A summary of the controversy concerning the identity of the composer of this concerto is followed by a description of the content and structure of each of its three movements. Some comments on the procedures of the arrangement complete the background information.
Dissertation/Thesis
D.M.A. Music 2011

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46

Liang, Yan-Gin, and 梁豔琴. "The Combination of 20th Century Western and Eastern Music in Taiwan by Transcribing Paul Hindemith 《Sonata for Horn and Piano》 and Gordon Jacob 《Concerto for Horn and Strings》 as Example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/24489777265299972712.

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碩士
中國文化大學
音樂學系碩士班西洋音樂組
101
The term“post-tonal” is often used to describe Western music composed between the years 1890-1920. Musicians working in this period believed traditional harmony and theory had grown outdated and began experimenting with new compositional techniques. Some of the musician broke away from conventional usage of tonality and modality, and some found innovation through applying modes from non-Western musical traditions. With the diminishing use of vertical harmonies and the increasing use of horizontal modes and scales, compositions from this period shared many common traits with works produced by Chinese orchestras that have been heavily influenced by Western symphonic music. This study attempts to partially alter the instrumentation of a few 20th century Western compositions and replace certain instruments with Chinese instruments to allow for an experimental sonic interpretation of these pieces. The study focuses on Paul Hindemith’s “Sonata for Horn and Piano” and Gordon Jacob’s “Concerto for Horn and Strings.” Musical analyses of these pieces using methods of traditional harmony and counterpoint show that melodies created using 20th century compositional devices share similarities with various modes used in Eastern musical traditions. Based on this finding, the instrumentation of the pieces is adapted for Chinese instruments, allowing the unique timbre of Chinese instruments to bring out the melodies and reveal new interpretations. It is hoped that this method of adaptation, in line with the practical spirit of Gebrauchsmusik, can raise the public’s level of acceptance for 20th century compositions. Keywords: Paul Hindemith、Gordon Jacob、Gebrauchsmusik

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47

Yeh, Chien Yu, and 葉倩宇. "The Stylistic Studies of the First Movement of Horn Concerto in B-flat Major, Op. 91 by Reinhold Glière." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/76w586.

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碩士
國立臺南藝術大學
音樂學系碩士班
105
This thesis is based on Horn Concerto in B-flat Major, Op. 91, by Russian composer Reinhold Glière. The discussion is divided into six chapters. The first chapter explains the origin, the scope and the research of the concerto. In chapter two, the development of the 19th and 20th-century is divided into two parts. First, the geographical, ethnic and political background to illustrate the background; then the development of musical activities and related organization in these the two major cultural centers, St. Petersburg and Moscow. The third chapter deals with the life of Glière and his related musicians. The fourth chapter discusses the creative background and the orchestration, structure, and motives of this work. In the fifth chapter, suggestions of the tempo, dynamics, phrasing, articulation and musical moods will be provided from the view as a performer. These discussions will help the readers to understand this work. The sixth chapter summarizes this thesis including the relationship between the theme and the main motive, and the interpretation of Glière's time in Russia.

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Huang, Yun-ju, and 黃韻如. "An Analysis of Robert Schumann’s《Concert Piece for Four Horns and Orchestra, Op. 86》." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/qf2289.

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碩士
國立臺南大學
音樂學系音樂科教學碩士班
102
Robert Schumann (1810-1856) is one of the most important composers of Romantic School of the nineteenth century. Among his works, the《Concert Piece for Four Horns and Orchestra, Op. 86》is one the only two compositions written for horn, and he wrote this piece for the Valved Horn. The purpose of this thesis is to study the characteristic and style of his《Concert Piece for Four Horns and Orchestra, Op. 86》. This thesis is divided in the following parts: 1. in the second and third chapters, the study of life of Robert Schumann and the general characteristics of his music works is provided. 2. In chapter four, a detailed analysis of the formal structures, harmonic vocabularies, melodic materials, rhythmic features, and other contents are explored, as a reference to understand the structure this pieces. 3. in chapter five, an comparative description of three recordings this this composition is illustrated to study performance interpretations of each recording. In the final chapter, a summary of this thesis is provided for performer, educator, and researcher, as a reference for further studies of this composition and of Schumann’ other compositions.

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Dissertations / Theses on the topic 'Concertos (Horn)'

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