A presente pesquisa tem como objetivo analisar a tessitura e a escrita para trompa observando três modelos que foram utilizados de forma brilhante pelos compositores que conseguiram, apesar das limitações de cada modelo, alçar a trompa da condição de instrumento de caça, nos tempos mais remotos, à categoria de instrumento solista e parte integrante da orquestra. Observamos que a trompa moderna é também utilizada para execução do repertório barroco e clássico, período em que as composições contemplavam a trompa de caça e a trompa natural. Acreditamos que uma visão acerca das funcionalidades da trompa de cada período nos traga subsídios para uma execução apropriada com um instrumento moderno. A trompa, devido a sua grande tessitura, foi desde o período clássico dividida em dois gêneros: trompa grave e trompa aguda. A partir do advento da trompa de válvulas na segunda metade do séc. XIX, as composições passam a requerer de um mesmo trompista igual habilidade em toda tessitura. Observamos que a especialização nos gêneros grave e agudo persiste, pois encontraremos passagens solísticas na tessitura grave ou aguda em que é requerida a especialização do trompista de cada gênero. / This research aims to analyze the range and writing for horn by observing three models that were used brilliantly by composers, who managed, despite the limitations of each model, create the conditions for the primitive hunting horn of ancient times to the level of a solo as well as an orchestral instrument. We will observe that the modern horn is well capacitated to perform Baroque and Classical repertoire, a period in which the compositions contemplated the use of the hunting horn and natural horn. We believe that a vision about the features of each period of the horn\'s development brings to light a proper execution with the modern instrument. Ever since the classical period, because of its extensive range, the horn was divided into two genres: high horn and low horn. After the invention of the valve horn in the second half of the 19th century, the compositions demanded of this new instrument the same ability as of its natural horn predecessor throughout its extensive range. We may note that with the newer 19th century valve horn, the perpetuation of the high and low horn tradition was maintained as may be observed in its extensive high and low range in solo passages, requiring the expertise of both high and low horn players of the time.

The purpose of this essay is to give an in-depth analysis of the present-day audition process, focusing on European and American orchestras and United States service bands. The research achieved a familiarity with the preparation process and methods in order to provide a concrete understanding of how to best approach an audition. More importantly it investigated the differences and similarities in audition repertoire, procedure and requirements between European orchestras, American orchestras and United States service bands, resulting in a comprehensive and global perspective on the study and foster a more thorough understanding of the audition process as a whole. This study is designed to showcase an overview of valuable insights and resources from a multitude of perspectives combined into one single document, thus creating a source for future auditioning candidates.

This creative project is a composition in three movements for woodwind quintet (piccolo replacing flute in the second movement). The work is a serial composition based on the following all-combinatorial row: C, E, E-flat, D-flat, F, D, F-sharp, G, B-flat, A, B, 4-sharp. The first movement is in ternary form, its B section is a palindrome consisting of new versions of the material occurring in the first A section. The second A section is a varied, rather than exact, estatement of the first part. The second movement is a five part canon with each instrument being assigned its own octave. The third movement is a rondeau. The shape and length of its parts was determined by a systematic application of the F1 bonacci series to every formal element. The duration of the Quintet is approximately 20 minutes. / School of Music

Sammanfattning Intensiva fallstudier av dagspressens representationer av humanitära aktioner Biafra 1968 och på Afrikas horn 2011 möjliggör en jämförelse i hur skildringen av det svältande Afrika förändrats över tid. Uppsatsens syfte har, med denna komparativa ansats, fokuserat på hur den utrikesjournalistiska diskursen skapar Oss och de Andra. Detta har undersökts med följande frågeställningar: Hur framställs de behövande och de som hjälper? Legitimeras humanitära aktioner? I så fall: hur? Vad har detta med utrikesjournalistikens diskursiva praktiker att göra? Hur kan detta kopplas till ideologier, maktrelationer och kulturella värderingar i den sociokulturella kontexten? Med postkolonial teori har utgångspunkten varit att undersöka hur kolonialismen som ideologi, som en del av det svenska, kollektiva minnet, inverkar på journalistiken. Den empiri som ligger till grund för analyserna består sammanlagt av fyra publikationer från Dagens Nyheter som, med sin ledande ställning, representerar dagspressen. Två artiklar från vardera fall, Biafra 1968 och Afrikas horn 2011, har analyserats med kritisk lingvistik, för den textuella nivån av den mer övergripande metoden; kritisk diskursanalys, där dess teori ger text, i snäv mening, en särskild konstituerande funktion för hur vi ser på världen. Identiteten av Oss har gått från en gemenskap byggd på svenskhet till ett mer kapitalistiskt, västligt Vi som går över nationsgränser. Bilden av de Andra står relativt stabil från 1968 till idag då den maktfulla afrikanen framställs som ett hot och de maktlösa som en stum, anpassningsbar massa. Resultatet visar också att den berättelse som den medierade diskursen, med sin rituella funktion, både då och nu använder sig av de koloniala projekten som kontext för att förklara humanitära aktioner i det svältande Afrika. Detta görs genom att Vi, genomgående för det empiriska materialet, överordnas de Andra.

The horned condition in cattle is believed to be the wild type with morphogenesis primarily occurring after birth. The polled condition has existed since domestication and has been selected for its economic importance. The polled locus has previously been mapped by genetic linkage analysis to the proximal region of bovine chromosome 1. In order to help us eventually identify the causative mutation, the objective of the study was to structurally and functionally characterize the polled interval from IFNAR1 to SOD1 on BTA1. Our hypothesis was that the polled locus is a tissue specific transcription factor that is expressed in the developing horn buds and acts directly or indirectly upon SOX9. A 2.5 Mb BAC contig and STS content map of the polled interval was constructed. Three candidate genes encoding transcription factors were identified within this region but only C21orf66 was expressed in the horn buds from 1 d old Bos indicus influenced calves. The C21orf66 gene has 18 exons, spans 30,976 bp of genomic DNA, and 144 SNP were identified. No single SNP discovered in C21orf66 can be attributed as the causative mutation. None of the genes from the polled interval were differentially expressed in skin and horn from 1 d old Bos indicus influenced calves. However, there were significant differences in the levels of expression of RUNX2, SOX9, BMP4, PRKCA, and FOXL2 in these samples. Expression of RUNX2 was localized to the osteoblasts, and both RUNX2 and SOX9 were expressed in sebaceous glands of the horn at 1 d of age. Histological examination of horns and scurs from newborn, 5 to 6 mo, and ~1.5 yr old Bos indicus influenced cattle suggest that horns form through intramembranous ossification. Based on the data presented herein, we propose that the polled locus is upstream of RUNX2 and SOX9 in the osteogenic pathway, and could have its primary effect on the differentiation of mesenchymal condensations. The genes IL10RB, SFRS15, C21orf66, OLIG1, OLIG2 and HUNK remain candidates for the polled locus and warrant further investigation.

Thesis (D.M.A.)--University of North Texas, 2002. / Includes bibliographical references (p. liv-lv).

Polonaise brillante in D major, op.4 / Henryk Wieniawski -- Sonata for horn and piano, op.24 / Trygve Madsen -- Sonata for violin and piano in E minor, op.82 / Edward Elgar. / text

No description available.

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 Jazz: Its Roots and Musical Development, 2 considered by some to be "the definitive musicological treatment of jazz history . . ..”3 Schuller is also recognized as a leading contemporary composer and conductor, former composition instructor and long-time artistic co-director of the annual summer Tanglewood Festival, and teacher, authority, and author on horn playing.The dissertation traces Schuller's varied career, giving particular attention to his phenomenal success as a virtuoso of the French horn by age seventeen. The study also details his development as a composer, concentrating primarily on his compositional style as revealed in the works for horn as a solo and chamber music instrument. Among the works discussed are the horn concertos, the woodwind suite and brass quintet, Lines and Contrasts for sixteen horns, and Five Pieces for Five Horns. Included in the discussion is his unpublished and virtually unknown first Horn Concerto, which was written (and performed only once) by the composer while he was first horn in the Cincinnati Symphony. For the research, a copy of the manuscript was provided by the composer. (To date, the only published remnant is an arrangement of the second movement entitled Nocturne for horn and piano.)The dissertation examines Schuller's ideas concerning the "art" of modern horn playing through a discussion of his writings (Horn Technique), his musical studies (Studies for Unaccompanied Horn and Duets for Unaccompanied Horns), and through the observations of colleagues and former students. Fortunately, some of Schuller's well-articulated thoughts on musicianship in general and horn playing specifically have been retained in the tapes of the Sixth Annual International Horn Workshop, held at Ball State University in 1974. These are transcribed and included in the Appendix.In summary, the research is in three major sections. The first deals with biographical information-- Schuller's various careers, a survey of his compositions and writings, and a discussion and evaluation of his playing career based on information from his colleagues, recordings, and reviews. Section two examines the composer’s style and his influence on the instrument’s technique through a detailed study of the solo and chamber works for horn. Part three concerns his pedagogical and philosophical ideas regarding music education, with particular attention to the horn and horn playing.1. Frank Battisti, "Gunther Schuller and His Many Worlds of Music," The Instrumentalist, XXXII (June, 1978), p. 39.2. Gunther Schuller, Early Jazz: Its Roots and Musical Development, (New York: Oxford University Press), 1968.3. Robert Palmer, "Gunther Schuller: On the American Musical Melting Pot," Downbeat, XLIII (Feb. 12, 1976), 12.

For flute, violin, French horn, piano, and live electronics. Includes graphic notation for computer. Includes performance notes. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 93-94).