Relevant bibliographies by topics / Horn (Musical instrument) Horn (Musical instrument)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Horn (Musical instrument) Horn (Musical instrument)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Horn (Musical instrument) Horn (Musical instrument)"

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[黄羽], Huang Yu. "A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 1–16. http://dx.doi.org/10.30819/aemr.6-1.

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The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the
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Morgan, Harry. "A Horn for Phemius." Mnemosyne 72, no. 2 (2019): 250–72. http://dx.doi.org/10.1163/1568525x-12342506.

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AbstractIn 51 BC, Titus Pomponius Atticus wrote to his friend Cicero with an unusual request: his musician Phemius needed a new instrument—a special ‘horn’ (κέρας) that could only be found in the region of Cilicia where Cicero was serving as governor. Several months later, the object in question was finally tracked down and an order placed. What exactly was this elusive piece of musical exotica, and why was Atticus so eager to get his hands on it? This article states a case for identifying Phemius’ κέρας with the Phrygian aulos/tibia, a species of pipe noted for its resonant ox-horn bell. Atti
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Hromchenko, Valerii. "Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)." Culturology Ideas, no. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.

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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomen
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BLUNDEL, RICHARD K., and DAVID J. SMITH. "“Imagined Outcomes”: Contrasting Patterns of Opportunity, Capability, and Innovation in British Musical Instrument Manufacturing, 1930–1985." Enterprise & Society 19, no. 3 (2018): 661–701. http://dx.doi.org/10.1017/eso.2017.65.

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By the mid-twentieth century in the United Kingdom, musical instrument manufacturing had become an increasingly mechanized activity. Craft skills had been displaced in many areas, yet remained a vital source of competitive advantage in local and international markets and were particularly valued by professional musicians. This article examines the contrasting experiences of two British musical instrument manufacturers, tracing the unfolding relationship between their pursuit of entrepreneurial opportunities and capability development. Boosey & Hawkes, a large, well-established manufacturin
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Sarkar, Joyanta, and Anil Rai. "An Analytical Study of the Folk Musical Instruments of Meghalaya." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 23–38. http://dx.doi.org/10.24193/subbmusica.2021.1.02.

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"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instr
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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment musi
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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.

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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without an
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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.

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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the le
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Nemoto, Koichi, and Hiroshi Arino. "Hand and Upper Extremity Problems in Wind Instrument Players in Military Bands." Medical Problems of Performing Artists 22, no. 2 (2007): 67–69. http://dx.doi.org/10.21091/mppa.2007.2014.

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This study examined the medical problems, especially of the hand and upper extremity, observed in wind instrument players from the military bands of the Japan Self-Defense Forces. The bands included 235 wind instrument players (184 men, 51 women), whose ages ranged from 18 to 57 yrs (average, 35 yrs). The length of their careers ranged from 6 to 41 yrs (average, 21 yrs). Methods: A questionnaire was distributed to the subjects for the health check. Results: From 235 wind instrument players, 71 (30% of the total players, 27% of the male players, and 41% of the female players) had hand and upper
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WASHINGTON, SALIM. "The Avenging Angel of Creation/Destruction: Black Music and the Afro-technological in the Science Fiction of Henry Dumas and Samuel R. Delany." Journal of the Society for American Music 2, no. 2 (2008): 235–53. http://dx.doi.org/10.1017/s1752196308080085.

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AbstractThis essay explores the thematic use of music in the science-fiction writings of two African American authors, Henry Dumas and Samuel R. Delany. Each author visited this theme in more than one work, and in at least one work centered the Afro-technological focus upon a special musical instrument: the “afro horn” in Dumas's story “Will the Circle Be Unbroken?” and a machete/flute in Samuel R. Delany's novel The Einstein Intersection. Both writers treat music itself, without regard to a material instrument, as a technology. Dumas depicted black music as a tool that enabled black people to
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Dissertations / Theses on the topic "Horn (Musical instrument) Horn (Musical instrument)"

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Farnsley, Stephen H. "Gunther Schuller, his influence on the French horn." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/469339.

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Gunther Schuller is presently one of America's most influential music personalities. As one colleague of Schuller's at the New England Conservatory has written, "In many ways, Gunther Schuller is a modern incarnation of the renaissance man, with his interests and abilities flowing from him like ripples in a pond."1 Schuller, in his six decades, has been one of the nation's first-rate orchestral horn players and has participated in the instrument's introduction into the jazz medium; his interest in musicological research has encompassed the study of various types of music and resulted in Early
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Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.

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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiph
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Strauchen, Elizabeth Bradley. "Giovanni Puzzi : his life and work : a view of horn playing and musical life in England from 1817 into the Victorian era (c.1855)." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:e42fa98b-daf6-454b-9f54-2a79588d5120.

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The focus of this dissertation is a comprehensive study of the life and work of Giovanni Puzzi, nineteenth-century Britain's most celebrated virtuoso of the horn. In his hands, the horn -- hitherto largely known to England's aristocracy as an obstreperous member of the orchestra or popular form of pleasure garden entertainment became a sought-after attraction at London's most fashionable and exclusive concerts. An examination of Puzzi's activities as an orchestral player and as a soloist in a wide variety of public and private concerts chronicles his rise to celebrity and establishes his posit
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Rekward, Susan J. "The Horn at the Paris Conservatoire and its Morceaux de Concours to 1996." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278364/.

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A work concerning the history of the Paris Conservatoire and music education in France. Follows the development of the horn and its correlation with the French school of horn playing. Includes biographic information on the horn professors of the Conservatoire through 1997, as well as a comprehensive list of the morceaux de concours for horn, 1795-1996.
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Wick, Heidi F. "Applying Natural Horn Technique to Modern Valved Horn Performance Practice." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu991314575.

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Theoro, Jaqueline de Paula 1974. "A importância dos quintetos de sopro de Anton Reicha no repertório camerístico dos trompistas = estudo analítico e interpretativo dos quintetos n. 1 opus 88 e n. 24 opus 100, à luz de seus tratados de harmonia, composição e melodia." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284941.

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Orientador: Eduardo Augusto Ostergren<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T08:09:14Z (GMT). No. of bitstreams: 1 Theoro_JaquelinedePaula_M.pdf: 36298604 bytes, checksum: 01c942b426e99e3195f815a54b7a21b7 (MD5) Previous issue date: 2010<br>Resumo: Verificando a importância dos Quintetos de Sopro de Anton Reicha, no repertório camerístico dos trompistas, esta pesquisa tem como finalidade apresentar um estudo analítico e interpretativo das obras "Quinteto em Mi bemol Maior opus 88 nº1" e "Quinteto em Si bemol
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Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.

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This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through t
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Feitosa, Radegundis Aranha Tavares. "O ensino de trompa: um estudo dos materiais didáticos utilizados no processo de formação do trompista." Universidade Federal da Paraí­ba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6607.

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Made available in DSpace on 2015-05-14T12:52:32Z (GMT). No. of bitstreams: 1 parte1.pdf: 3947611 bytes, checksum: 9453979f5d939cdb409198b7bcbc5cb0 (MD5) Previous issue date: 2013-03-15<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Research on instrumental teaching have gone through significant development in recent decades, gaining, as a result, considerable importance and legitimacy, especially within the context of research in music education. Based on this fact, the present work shows the results of a study on instrumental teaching, contemplating most spec
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Daigle, Jennifer B. "An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151003398.

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Feitosa, Radegundis Aranha Tavares. "Música brasileira popular no ensino da trompa: perspectivas e possibilidades formativas." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8667.

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Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-09-19T17:29:54Z No. of bitstreams: 1 arquivototal.pdf: 9245207 bytes, checksum: e18f96b9b74564baa6c917552ea31490 (MD5)<br>Made available in DSpace on 2016-09-19T17:29:54Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9245207 bytes, checksum: e18f96b9b74564baa6c917552ea31490 (MD5) Previous issue date: 2016-06-10<br>Research on popular music teaching have gone through development in recent years, gaining, as a result, considerable importance and legitimacy, especially within the context of research in music education. Based o
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Books on the topic "Horn (Musical instrument) Horn (Musical instrument)"

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Janetzky, Kurt. The horn. Batsford, 1988.

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Janetzky, Kurt. The horn. Batsford, 1988.

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Janetzky, Kurt. The horn. Amadeus Press, 1988.

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Horn technique. 2nd ed. Oxford University Press, 1992.

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Bourgue, Daniel. Conversations about the horn. International Music Diffusion, 1996.

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Reynolds, Verne. The horn handbook. Amadeus Press, 1997.

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Bartels, Uwe. Das Fürst-Pless-Horn und seine Tradition: Bilder, Berichte und Dokumente zur Kulturgeschichte. Landbuch Verlag Hannover, 1999.

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Corti, Guido. Il corno. Zecchini, 1998.

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Lawson, Walter A. French horn mouthpieces: Material and design. Lawson Brass Instruments, 1990.

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Lawson, Walter A. Instrument-to-person coupling. Lawson Brass Instruments, 1999.

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Book chapters on the topic "Horn (Musical instrument) Horn (Musical instrument)"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Horn." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-23.

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Fletcher, Neville H., and Thomas D. Rossing. "Pipes and Horns." In The Physics of Musical Instruments. Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_8.

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Fletcher, Neville H., and Thomas D. Rossing. "Pipes, Horns and Cavities." In The Physics of Musical Instruments. Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_8.

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Garrett, Steven L. "Radiation and Scattering." In Understanding Acoustics. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44787-8_12.

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Abstract At this point, we have made a rather extensive investigation into the sounds that excite Helmholtz resonators as well as the departures from equilibrium that propagate as plane waves through uniform or inhomogeneous media. We have not, as yet, dealt with how those sounds are actually produced in fluids. Our experience tells us that sound can be generated by vibrating objects (e.g., loudspeaker cones, stringed musical instruments, drums, bells), by modulated or unstable flows (e.g., jet engine exhaust, whistles, fog horns, speech), by electrical discharges in the atmosphere (i.e., thunder), or by optical absorption (e.g., modulated laser beams). In this chapter, we will develop the perspective and tools that will be used for the calculation of the radiation efficiency of various sources and combinations of sources, like the sound reinforcement system shown in Fig. 12.1.
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Fiala, Michele. "Pedro Díaz." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0004.

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Pedro Díaz is the solo English Horn of the Metropolitan Opera Orchestra. In this interview, he talks about his start in music, auditions, becoming an English horn player, musical phrasing, and breathing and support on a wind instrument. He also discusses the relationship of vocal to instrumental music, how to become a good ensemble player, his pedagogy, and highlights of his career.
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Campbell, Murray, Clive Greated, and Arnold Myers. "Bugles and Horns." In Musical Instruments. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198165040.003.0005.

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"The Horn." In The Teaching of Instrumental Music. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-24.

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Hobson, Vic. "“Me and Music Got Married in the Home”." In Creating the Jazz Solo. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819772.003.0007.

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This chapter explores Armstrong’s introduction to playing brass instruments in the Colored Waifs’ Home. As he described in his autobiography, he knowingly applied barbershop lines (baritone and tenor voices) to the Alto Horn he was asked to play. He also continued to sing in a barbershop quartet while in the Waifs’ Home with “Kid Shots” Madison, “Kid” Rena, and Red “Happy” Bolton. With the Waifs’ orchestra, Armstrong played “Maryland My Maryland” which he recorded in later life with “Kid” Ory. The relation between the sheet music and the recording is discussed.
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Upitis, Rena. "Performance." In This Too is Music. 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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"bianzhong bell chime bili a double-reed cylindrical instrument bo cymbals Chaozhou Xianshi String music in Chaozhou chiba vertical bamboo flute chui blowing, a category of folk classification for music instruments, meaning wind instruments Chuige Hui Society of wind songs da beating, a category of folk classification for music instruments, meaning percussion instruments Dadiao Qüzi a local singing narrative genre in Henan Province daqü large suite di bamboo flute erhu two-string bowed lute Erquan Yingyue Moonlight reflected on the water of Erquan Spring, an erhu piece played by Abing Fanglü Pasture donkey, a wind and percussion ensemble piece played in Chuige Hui in Hebei Province fengshou konghou arched harp Ge hide, a category of ancient classification for musical instruments gonche Chinese system of notation gu drum guan a double-reed cylindrical instrument, basically the same as the ancient bili Guangdong Yinyue Cantonese music, a genre of instrumental ensemble in Guangdong Province Guangling San Tune of Guangling, a qin piece Guchui yue drum and blowing music gudi bone flute haidi small suona (small conical oboe) hua painting, one category of the literati’s self-cultivation and entertainment hujiao horn Ji Kong Yuewu Worshiping music and dance to Confucius Jiangnan Sizhu String and wind ensemble in the south area of the Yangtze River Valley jianzi pu simplified character notation Jin metal, a category of ancient classification for musical instruments jinghu two-string bowed lute, like a small erhu but with its soundbox made of bamboo." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-4.

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