Relevant bibliographies by topics / Horn with orchestra

Contents

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

Academic literature on the topic 'Horn with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Horn with orchestra"

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Johnson, Christopher M., Clifford K. Madsen, and John M. Geringer. "A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto." Journal of Research in Music Education 60, no. 2 (May 11, 2012): 217–31. http://dx.doi.org/10.1177/0022429412445486.

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The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial movements, which controlled the instantaneous tempo of the solo horn performance. Some tendencies from previous rubato performances were replicated; however, overall performances more closely reflected the previous performances of the lowest rated horn performers than those judged as the highest caliber performers.
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Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (April 2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.

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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the left and right of the conductor, whilst the first horn player sits apart from his colleagues and is mirrored by a fourth, offstage, horn player.
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Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.

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Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.
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Currin, Tina Haver. "Sound Politics: The Air Horn Orchestra Blasts HB2." Southern Cultures 24, no. 3 (2018): 107–24. http://dx.doi.org/10.1353/scu.2018.0036.

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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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Mitchell, Donald. "‘Now sleeps the crimson petal’: Britten's other ‘Serenade’." Tempo, no. 169 (June 1989): 22–27. http://dx.doi.org/10.1017/s0040298200025122.

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Britten's Serenade, op.31, for tenor, horn, and strings, was first performed at the Wigmore Hall, London, on 15 October 1943, with Peter Pears, Dennis Brain and an ad hoc orchestra conducted by Walter Goehr. It was dedicated to Edward Sackville-West.
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Berque, Patrice, Heather Gray, and Angus McFadyen. "Inefficiencies in Motor Strategies of Horn Players with Embouchure Dystonia: Comparisons to Elite Performers." Medical Problems of Performing Artists 31, no. 2 (June 1, 2016): 78–86. http://dx.doi.org/10.21091/mppa.2016.2015.

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Many epidemiological surveys on playing-related musculoskeletal problems (PRMPs) have been carried out on professional musicians, but none have evaluated or confirmed the psychometric properties of the instruments that were used. The aim of the present study was to evaluate the prevalence of PRMPs among professional orchestra musicians and to gather information on pain intensity and pain interference on function and psychosocial variables, using a self-report instrument developed and validated specifically for a population of professional orchestra musicians. METHODS: Out of 183 professional orchestra players, 101 took part in the study (55% response rate) and completed the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM). RESULTS: Lifetime prevalence of PRMPs was 77.2%, 1-year prevalence was 45.5%, and point prevalence was 36.6%. Of the PRMP group, 43% reported having pain in three or more locations, most commonly the right upper limb, neck, and left forearm and elbow. However, predominant sites of PRMPs varied between instrument groups. The mean pain intensity score for the PRMP group was 12.4±7.63 (out of 40). The mean pain interference score was 15.2±12.39 (out of 50), increasing significantly with the number of reported pain locations (F=3.009, p=0.044). CONCLUSION: This study confirms that musculoskeletal complaints are common in elite professional musicians and that the use of an operational definition and a validated self-report instrument allows for more accurate and meaningful estimates of pain prevalence.
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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.

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AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper extremity. Pain intensity during the last 7 days was measured by an 11-point numeric rating scale (NRS) with a score from 0 to 10, as well as was disadvantage at work and leisure. RESULTS: Of the interviewed musicians, 20% presented playing-related musculoskeletal disorders at the time of the interview. Compared to other professional orchestra musicians, violin and viola players reported significantly more intense pain in the hand during the last week. Also, they had experienced more frequent neck pain ever and in 5 years than the others. During the past 30 days, violin and viola players had also perceived more harm in their upper limb joints. Violin/cello and violin/French horn players did not differ from the others. CONCLUSIONS: Our study showed that musicians playing the violin or viola have more intense hand pain and more frequent neck pain than other musicians, but these seem to disturb their daily tasks only a little.
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Kearns, William K., Richard Todd, and Michael Nowak. "Craig Russell. Rhapsody for Horn and Orchestra. Middle Earth. Gate City: A Methodist Hymn." American Music 24, no. 2 (July 1, 2006): 254. http://dx.doi.org/10.2307/25046027.

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Kramer, Richard. "Skizzen, and: Concerto for Horn and Orchestra in E-flat Major, K. 370 b + 371 (review)." Notes 57, no. 1 (2000): 188–93. http://dx.doi.org/10.1353/not.2000.0032.

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Dissertations / Theses on the topic "Horn with orchestra"

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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.
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Keesecker, Jamie L. 1981. "Sinfonia Concertante for Horn and Chamber Orchestra." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9829.

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1 score (vii, 80 p.). A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The genre "Sinfonia Concertante" typically features one or more solo instruments interacting with an accompanying orchestra. It is neither a concerto nor a formal symphony, but a hybrid of the two. In this composition, the horn is the featured instrument, accompanied by a chamber orchestra consisting of 1 Flute (doubling Piccolo), 1 Oboe, 2 Clarinets (second player doubling Bass Clarinet), 1 Bassoon, 1 Trumpet, 1 Trombone, 2 Percussionists, and a full complement of strings. The piece exhibits characteristics of a traditional symphony through the use of primary and subordinate theme groups that are contrasted in character, harmonic areas, and orchestration. The work explores the concept of rhythmic juxtaposition by the casting of a motive against an augmented version of itself. In general, the use of recurring themes and motivic fragments as well as a recycling of pitch material help to tie the two movements together as a cohesive whole.
Committee in Charge: Dr. David Crumb, Chair; Dr. Robert Kyr; Lydia Van Dreel
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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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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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Thayer, Heather Leweise. "Helen Kotas (1916-200): A Female Pioneer in Major US Orchestras." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68053/.

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Helen Kotas was an accomplished musician and teacher who helped open the door for women in major US orchestras. In 1941 the Chicago Symphony hired its first female brass musician, principal hornist Helen Kotas. With that daring move, she became a pioneer for her gender in the major orchestras of North America. Despite her many contributions to the musical community, Kotas's life has not been researched and documented. This paper looks at Helen Kotas's career as well as a glimpse at her life and personality. In addition to documenting her life, this dissertation attempts to show at least a portion of Kotas's philosophy of teaching and horn playing. She was an accomplished horn soloist and studied the literature extensively. Kotas performed in the Chicago Civic Orchestra, the Woman's Symphony Orchestra, and Leopold Stokowski's All-American Youth Orchestra. Kotas was hired by Fritz Reiner as third horn of the Pittsburgh Symphony. When Frederick Stock, conductor of the Chicago Symphony Orchestra, heard that Helen Kotas was going to Pittsburgh, he insisted that she audition for the CSO. Kotas auditioned on the Concerto for Horn by Richard Strauss and the concertmaster said, "Hire her!" She performed as principal horn with the orchestra until Artur Rodzinski was hired as conductor in 1948 and replaced Kotas with Philip Farkas. Following her time with the CSO, Kotas was principal horn of the Chicago Lyric Opera and taught at the Sherwood and American Conservatories. She was an active soloist and premiered works by Arne Oldberg and Hugo Kauder.
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Golombisky, Matthew. "Determining What's Next: A Slow Movement for Chamber Orchestra." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/362.

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This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strings. Then, primarily stated in the middle register, we hear it in a wind trio consisting of clarinet, bassoon and horn. The next section is a low rumbling effect where the low strings and bass clarinet make the statement. Lastly, before a quasi-development section, the statement is heard in highest register with the flute, oboe, clarinet, and violins. This last statement peaks and the piece begins to slightly accelerate and make use of eighth notes in a polyphonic exploration in E minor. After this is established the tonality becomes blurred and cadences are delayed. The first violin and flute seem to be behind a couple measures even though they are considered of the fastest instruments in the orchestra. Eventually the orchestra collides and unites again to build strength, but it is of no use because they seem to have hard trouble finding the original tonality. When they final reach the E minor tonality again, they are exhausted and gradually fade away to the final cadence where we hear the two thematic chords simultaneously: strings – E minor, high winds – F major.
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Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.
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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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Costa, Robyn Dixon. "A Biography and Survey of the Musical Career of Grover Schiltz." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243886001.

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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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Books on the topic "Horn with orchestra"

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Lazarof, Henri. Fantasia for horn and orchestra. Bryn Mawr, Pa: Merion Music, 1995.

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Zwilich, Ellen Taaffe. Concerto for horn and string orchestra. Bryn Mawr, Pa: Merion Music, 1995.

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Saint-Saëns, Camille. Romanzen für Horn und Klavier =: Romances for horn and piano. München: G. Henle, 2013.

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Yancich, Milan. An orchestra musician's odyssey: A view from the rear. Rochester, N.Y: Wind 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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Gstättner, Rudolf. Solo-Oboe/Englischhorn und Blasorchester: Verzeichnis von über 150 Solowerken für ein oder zwei Oboen oder Englischhörner und Blasorchester. Wien: Musikverlag J. Kliment, 1997.

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Hallnäs, Eyvind. Elegi : för valthor o. stråk ork.: 1985. [Stockholm: STIM, 1985.

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Copland, Aaron. Third symphony ; Quiet city. Hamburg: Deutsche Grammophon, 1986.

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Benjamin, Britten. Serenade, op. 31, for tenor, horn, and strings ; Winter words: Op. 52 ; Seven sonnets of Michelangelo : op. 22. London: London Jubilee, 1986.

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I found my horn: One man's struggle with the orchestra's most difficult instrument. London: Weidenfeld & Nicolson, 2008.

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Book chapters on the topic "Horn with orchestra"

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Widholm, Gregor. "Das Wiener Horn – ein Instrument des 19. Jahrhunderts als erste Wahl in Orchestern des 21. Jahrhunderts." In Musikforschung der Hochschule der Künste Bern, 223–44. Schliengen: Edition Argus, 2020. http://dx.doi.org/10.26045/kp64-6177-013.

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Fiala, Michele. "Robert Walters." In Great Oboists on Music and Musicianship, 239–51. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0023.

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Robert Walters joined the Cleveland Orchestra as solo English horn in 2004. Prior to coming to Cleveland, Walters was the solo English horn player of the Metropolitan Opera Orchestra (2000–2004) and with the Cincinnati Symphony Orchestra (1997–2000). In this chapter, he discusses his early career, performing on English horn, and professional auditions. He talks about teaching, air support, and ensemble skills. He closes by describing his inspirations and how his writing of poetry relates to music. The interview includes a poem of his.
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Fiala, Michele. "Pedro Díaz." In Great Oboists on Music and Musicianship, 32–39. 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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Díaz, Juan Diego. "The Tuned Berimbaus of OBADX." In Africanness in Action, 200–230. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197549551.003.0008.

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Chapter 7 discusses a second berimbau orchestra: the Dainho Xequerê Orchestra of Tuned Berimbaus (OBADX), led by the capoeira Contramestre Dainho Xequerê. With a more eclectic and inclusive approach than the Nzinga orchestra, OBADX keeps a greater distance from capoeira aesthetics, fuses various genres, including pieces of the so-called common practice period (e.g., Ravel’s Bolero), and, crucially, tunes its berimbaus to create melodies in hocket, much in the same way as British and US American handbell choirs, the Central African Republic’s banda linda horn ensembles, or Indonesian angklung groups function. In doing so, OBADX challenges the themes of African rhythmicity and percussiveness, asserting the importance of African melody and harmony in diasporic creation.
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Hobson, Vic. "“Me and Music Got Married in the Home”." In Creating the Jazz Solo, 47–54. 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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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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McLeish, Tom. "Music and Mathematics— Creating the Sublime." In The Poetry and Music of Science, 191–260. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198797999.003.0005.

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The third mode of imagination is the abstract—the world shared by mathematics and music. Once held together in the ‘quadrivum’ of medieval liberal arts, they have now lost their obvious connection. This chapter explores their deeper commonalities, starting with Andrew Wiles’ proof of Fermat’s last theorem, and Shostakovich’s eighth string quartet, the shared role of number in rhythm, volume, and pitch leads to a deeper world of multi-layered structure and the unconscious imagination. The writing of, and writing about music of Robert Schumann, including a detailed examination of his Konzertstück for four horns and orchestra, is contrasted with writing about mathematical creativity by Hadamard. The collision of beauty, structure, and universality is illustrated by a close encounter with the Fluctuation–Dissipation Theorem. In both cases of mathematics and music, notation is explicitly displayed in an exploration of how it serves as an extension to imaginative thought.
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Conference papers on the topic "Horn with orchestra"

1

Yang, Li. "French Horn---All Rounder in the Orchestra." In 2015 International Conference on Social Science and Technology Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icsste-15.2015.180.

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