Arts and Humanities Commons^™

Soundscape - A Guided Approach To Post-Tonal Horn Repertoire, Selena B. Boyda

LSU Doctoral Dissertations

More modern post-tonal works are being composed and it is imperative that horn players interpret the music as accurately as possible. Analyzing the music is a way one can interpret the music accurately. The purpose of this research is to develop a guided approach for interpretation of post-tonal horn repertoire using analytical techniques. Selected works analyzed and used are Olivier Messiaen’s “Appel Interstellaire,” Stanley Friedman’s Topanga Variations, and Jenni Brandon’s Dawn. Analytical techniques used include set theory, limited modes of transposition, contour relations, motivic patterns, modal analysis, and motifs.

A Case Study Analysis Of The Experiences And Perceived Learning Outcomes Of Former Non-Music Majors In Applied Horn Lessons, Jordan Bennett

Graduate Theses, Dissertations, and Problem Reports

Non-major music students are an integral part of university music departments, as they both bolster the department’s enrollment numbers and bring diverse perspectives to the ensembles, lessons, and classes in which they participate. Although most non-majors focus their time on ensembles, a few choose to include lessons as part of their experience. Whether motivated by external factors like scholarship money or internal factors like a desire to improve on an instrument, these non-majors are a unique part of any applied studio. However, the phenomenon of non-majors in applied lessons is understudied. Literature tends to focus on non-major enrollment in ensembles …

The Three E’S Of Horn Repertoire: From Excerpts To Etudes To Employment, Briana Pepilascov-Childers

Theses and Dissertations--Music

This project explores effective solutions for practicing orchestral excerpts, a challenge often faced by young musicians preparing for auditions. It introduces a method of adapting practice ideas and composition to facilitate a more profound understanding of fifteen orchestral excerpts. While primarily directed at horn players, the concepts and techniques explored in this study are applicable to musicians of all instruments, offering specific ideas, practice tips, and original etudes tailored to each excerpt. These etudes serve a dual purpose by addressing technical aspects of both the horn and the excerpt itself while familiarizing the musician with the standard orchestral repertoire commonly …

Fred And Dinah Gretsch School Of Music Newsletter, Georgia Southern University

School of Music Newsletters (2017-2023)

• Student News
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Mozart's Operas For Harmonie: Three Contemporary Arrangements Compared, Jacob R. Ludwig

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

This thesis examines three approaches to arranging Mozart's operas for Harmonie by Johann Nepomuk Went, Josef Triebensee, and Joseph Heidenreich through an analysis of selections from their arrangements. It consists of two chapters. Chapter One discusses the historical background of the Harmonie ensemble in Vienna and an introduction to the complicated publishing history of Mozart's original works for the Harmoniemusik ensemble. A summary of the scant biographical information about the three arrangers of the works to be studied concludes Chapter One. Chapter Two covers the arrangements of Mozart's operas by Johann Nepomuk Went, Josef Triebensee, and Joseph Heidenreich. The Harmonie …

Johannes Brahms’S Horn Trio And Its Unique Place In The Chamber Music Repertoire, Chloë A. Sodonis

Musical Offerings

The purpose of this research is to explore the elements in Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40, that contribute to its unique position in the vast and revered library of chamber music. These include Brahms's use of folksong, five-measure phrases, a variation on sonata form, developing variation, emotional elements, and unique instrumentation. The German folk song, Es soll sich ja keiner mit der Liebe abgeben is almost identical to the opening fourth movement theme of the horn trio. Brahms incorporates portions of this melody throughout all four movements of his horn trio which demonstrates …

A Performer’S Guide To The Unaccompanied Horn, Solo Horn And Fixed Media, And Horn And Piano Works Of James Naigus, Jordan Redd

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

The horn music of James Naigus is widely known in the horn community. Naigus’ ties to prolific horn composers Paul Basler and Jeff Agrell has placed him next in line to etch his name in horn history. James’ idiomatic melody and harmony has gained popularity at a rapid pace over the past ten years. The accessibility of his music for players of all ages has led to many commissions and performances of his work all over the world.

This writing summarizes the unaccompanied horn, solo horn and fixed media, and horn and piano works of James Naigus. Inside, the reader …

Chloë Sodonis, Senior Horn Recital, Chloë Sodonis

Junior and Senior Recitals

No abstract provided.

Emily Brubaker, Senior Horn Recital, Emily A. Brubaker

Junior and Senior Recitals

No abstract provided.

Electronic Learning: An Educator’S Guide To Navigating Online Learning In A Collegiate Horn Studio, Michelle Beck

Theses and Dissertations

Inarguably one of the most abrupt changes our education system has seen in the last 50 years, online learning has swept the country. To protect both the health and safety of its citizens, the country has shifted to an online format. With this change comes opportunity for growth and advancement of online learning curriculum. At the same time, this quick move has led many educators through an uncomfortable reassessment of teaching practice and pedagogical approach. In this document I will examine the many aspects of e-learning. E-learning is defined as “utilizing electronic technologies to access educational curriculum outside of a …

The Use Of The Alexander Technique As A Practice Tool For Horn Performance, Centria Deondra Brown

LSU Doctoral Dissertations

The purpose of this study is to present how the Alexander Technique can be used as a practice aid for horn players. In this document, I have proposed that the Alexander Technique can be a tool students use to achieve efficient and effective practice sessions. Students who have a clear understanding of the Alexander Technique would be aware of their body and mind, such as physical tension and mental thought processes, while performing. The intention of this dissertation is to use standard repertoire as a means of learning how the Alexander Technique can assist a student practicing these works.

I …

Sunday Series: Aires Tropicales, Department Of Music

Concerts and Event Programs 2019-2020

Andrews University Department of Music presents the first Sunday Music Series of the new year: Aires Tropicales. Betania Canas, flute; Pedro Falcon, oboe; Byron Graves, clarinet; Erin Penrod, horn; and Alexandra Castro, bassoon, perform quintet works by Coleman, Arnold, Arrieu, and D'Rivera.

Wind Studio Recital, Department Of Music

Concerts and Event Programs 2019-2020

The Wind Studio presents a recital featuring the students of Jason Gresl, Debra Inglefield, Aleksandra Kemble, and Gabriel Renteria-Elyea. Works include Mozart, Debussy, Faure, and others.

Emily Brubaker And Soraya Wiese, Junior And Sophomore Horn And Flute Recital, Emily Brubaker, Soraya Wiese

Junior and Senior Recitals

No abstract provided.

Emily Brubaker And Soraya Wiese, Junior And Sophomore Horn And Flute Recital, Emily Brubaker, Soraya Wiese

Student Recitals

No abstract provided.

The Incorporated Hornist: Instruments, Embodiment, And The Performance Of Music, M. Elizabeth Fleming

Dissertations, Theses, and Capstone Projects

Roland Barthes famously described the “grain” as “the body in the voice as it sings, the hand as it writes, the limb as it performs.” Stated simply, this project asks What is the body in the horn as it sounds? Instrumentality is typically understood as extension and expression beyond the boundaries of the body; brass instrument musicking, however, begins not where the sound emerges from the bell, but at the very least at the meeting point of the player’s breath, the surfaces of the body, and the tube of the instrument. This project of instrumental incorporation understands music as a …

The Horn In Tchaikovsky's Symphony No. 5, Op. 64: An Introduction To The Horn In Late Nineteenth Century Russia, David S. Hall

Chancellor’s Honors Program Projects

No abstract provided.

Embouchure Theory In Practice, Alden Smith

Williams Honors College, Honors Research Projects

In the instrumental band world, the horn, euphonium, and tuba are considered “switch-over” instruments. They are put in this category because students usually switch to these instruments from their starting instrument. Though they may not be offered to students as a starting instrument, their tones create a balanced and mature band sound. However, it is difficult to properly teach these instruments due to logistical complications; the music educator is responsible for simultaneously teaching the switch-over students a new instrument, while continuing the education of students who did not switch over.

Sound on the horn, euphonium, and tuba is produced by …

Chloë Sodonis, Sophomore Horn Recital, Chloë Sodonis

Student Recitals

No abstract provided.

The Well-Rounded Musician: A New Degree Path For Horn In Jazz, Lauren M. Braud

LSU Doctoral Dissertations

The following document will examine the question of whether horn players should be trained in jazz at the collegiate level. Should research prove that teaching horn players to play jazz is a viable degree, how should it be done? How should it be taught? Should classical training be dropped from the curriculum for these students?

A brief history of jazz and horn players who were well known for their performance and study of jazz are discussed. The main research portion contains a survey of current jazz professors and performers. The survey looks into the formal training of these professors and …

Concerto For Horn And Orchestra And Sofia Gubaidulina's Serialism, Michael Paul Mitchell

LSU Doctoral Dissertations

This work is in two parts. The first is a composition for horn and orchestra by the author, using a variety of styles that I have learned while at Louisiana State University and inspired by the pieces I have played on the horn. The second part is an analysis of Sofia Gubaidulina’s works that include twelve-tone serial techniques and the devices she uses in them and how her style changed through composing these three pieces, Piano Sonata (1965), Five Etudes for Harp, Double Bass, and Percussion, and Night in Memphis composed in 1968. After these pieces Gubaidulina leaves the …

Zéphyros Winds, The Chamber Music Society Of Logan

All Music Department Programs

The Chamber Music Society of Logan presents the Zéphyros Winds. This is their 37th season performing.

David Brown, Junior Horn Recital, David Brown

Junior and Senior Recitals

No abstract provided.

La Chasse: The Legacy Of Hunting Calls In French Compositions For Solo Horn And Piano, Daniel J. Atwood

Dissertations, 2014-2019

The horn originates from the hunting fields of Europe and shares a particularly strong relationship with the country of France. During the fourteenth century, the hunt was a form of recreation in which the royalty and nobility of France passionately engaged. This patronage of the nobility led to the writing of many hunting treatises that contain hunting calls, the first music written for horn.

For hundreds of years, French composers have written compositions for solo horn and piano and continually include hunting calls, or passages in the style of hunting calls, into their works. Through continual reference and inclusion of …

On Unaccompanied Horn Music, Jason D. Klinect

Williams Honors College, Honors Research Projects

Unaccompanied music provides a host of challenges for solo musicians, and especially for wind players. The performer cannot rely on accompaniment for embouchure rest or for realization of the harmonic content, due to only being able to play one pitch at a time. An unaccompanied musician has to breathe life into the music by themselves, requiring an intimate knowledge of the music, even moreso than is already required. The pacing of the music, the dynamics, phrasing, and articulation need to be clearly conveyed to the audience by the performer alone. Likely due to the horn not having valves until the …

The History Of The Horn And How It Applies To The Modern Hornist, Joseph Alexander Meinweiser

Chancellor’s Honors Program Projects

No abstract provided.

Efficient Strategies For Playing The Horn, Jon Allan Holloway

UNLV Theses, Dissertations, Professional Papers, and Capstones

In their pursuit of becoming accomplished performers, horn players spend a great deal of time studying proper brass playing techniques from the great pedagogues. The modern horn is a fairly young instrument (less than two hundred years old) and the most efficient pedagogical approach is still evolving. Because of this, horn players spend a great deal of time studying proper brass playing techniques from the great pedagogues. Books by Philip Farkas, Arnold Jacobs, Raphael Mendez, and more have many theories and exercises on how to breathe, the best way to perfect embouchure development, performance techniques, and more.

Modern pedagogues have …

Sarah Plumley, Senior Horn Recital, Sarah R. Plumley

Junior and Senior Recitals

No abstract provided.

Coursing With Coils: The Only Orchestral Instrument Harder Than The French Horn, Sarah R. Plumley

The Research and Scholarship Symposium (2013-2019)

Playing the horn has become not only more sophisticated and accurate, but simpler and more efficient for the horn player than what it was three hundred years ago. The natural horn, used in a variety ways in early history, demanded an incredible level of skill and precision, more than our valved horn today in some ways because it required a more accurate ear, more embouchure dexterity, and the necessity of wrangling crooks for different keys. Thus, it required many practiced skills of the player that are no longer as necessary as they once were. This paper discusses each of these …

Coursing With Coils: The Only Orchestral Instrument Harder Than The French Horn, Sarah R. Plumley

Musical Offerings

Playing the horn has become not only more sophisticated and accurate, but simpler and more efficient for the horn player. The natural horn, used in a variety ways in early history, demanded an incredible level of skill and precision, more than our valved horn today in some ways because it required a more accurate ear, more embouchure dexterity, and the necessity of wrangling crooks for different keys. Thus, it required many practiced skills of the player that are no longer as necessary as they once were. This paper discusses each of these demands along with the history of the horn, …