This thesis explores the subject of playing either a high or low horn in a symphony orchestra, looking at the roles, repertoire, and pedagogical methods connected with each. The purpose of the study is to shed light on the phenomenon of horn players categorizing themselves as either high or low horn players and to examine the debate between a balanced approach and specialization in horn playing. The study focuses on excerpts that are frequently used in auditions around the world and offers a thorough analysis of repertoire examples that are necessary for both high and low horn playing. A number of common exercises and studies are included in the examination of historical and modern teaching methods and approaches used in conservatories. Interviews with Björn Olsson and Benedikt Scholtes, two professional horn players and teachers, yield their perspectives on the subject, providing insightful information. The thesis acknowledges the individuality of each horn student and seeks to answer the question of whether categorizing oneself as a high or low horn player and concentrating solely on one register is wise or whether a balanced approach is preferable. In the current competitive orchestral employment landscape, the author discusses the potential advantages and disadvantages of such specialization. The study emphasizes the significance of versatility in horn playing and the need for a larger repertoire beyond the typical audition pieces. This thesis offers insightful information and viewpoints for horn players who are faced with questions and decisions regarding high and low horn playing by examining traditional high and low horn repertoire in addition to pertinent studies and exercises.

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Thesis (M. Mus.)--University of Wisconsin--Madison, 1948. / Typescript. Title from title screen (viewed Mar. 21, 2007). Includes bibliographical references (leaves 122-123). Online version of the print original.

Zugl.: Freiburg (Breisgau), Univ., Magisterarbeit

Thesis (M. Mus.)--University of Wisconsin--Madison, 1948. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 122-123).

abstract: In 1808, Heinrich Domnich (1767-1844) published his book, Méthode de Premier et de Second Cor, in which he credited the invention of hand horn to Dresden hornist Anton Joseph Hampel (1710-1771). The notion that Hampel was the first horn player to experiment and teach hand horn technique has persisted to the present day. This assumption disregards evidence found in Telemann's compositions and Baroque instrument design, where hand horn technique was clearly in use before Hampel. This paper presents evidence that before Hampel, hand horn was in use and called for by composers. Because of the number of works for horn he generated before and during Hampel's life, Telemann's pieces provide powerful insight into the use of Baroque horn. Musical examples originate from passages in Telemann's works where the horn performs in a solo capacity and the music requires the performer to produce pitches outside the harmonic series. By necessity, the performer must use either the hand or bend the note with the embouchure in order to produce the correct pitch with the hand being the logical choice. The paper also examines published interviews from horn pedagogues, history books, method books from the classical and baroque eras, baroque and hand horn design, as well as articles written by some of the world's foremost baroque and hand horn experts. By indentifying the number of non harmonic series tones in Telemann's music, combined with the opinions of hand horn experts, this paper suggests that horn players during the Baroque era must have known about, and used, hand horn technique. This knowledge will influence performer's interpretation of baroque pieces by providing a more historically informed performance, clearer understanding of intonation, the variety of tone colors expected, and create a better understanding of the development of the horn from foxhunting to the concert hall. / Dissertation/Thesis / Doctoral Dissertation Performance 2014

abstract: This project examines over 40 publications consisting of published warm-ups, routines, and materials suitable for daily routines. The books were all written specifically for the horn and published between 1940 and 2015. They are split into periods of twenty years each during this timeframe: 1940-1959, 1960-1979, 1980-1999, and 2000-2015. Included are brief annotations for each of the books which consist of general biographical information on the author, a summary of the material presented in each routine including a breakdown of how much each author covers a set of defined components, and suggestions for which type of student would be best to utilize each routine through an assessment of its strengths. Trends are also examined within each time period that attempt to demonstrate the larger evolution within the project over the course of the entire 75-year period. / Dissertation/Thesis / Doctoral Dissertation Music 2016

Thesis--State University of Iowa. / Vol. 2 contains a full score and an arr. for piano and horn of Stich's Concerto, no. 6. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Sonata no. 2 / Luigi Cherubini -- Scherzo brillante; Romanza; Variationen fur tiefes Horn und Klavier / Jan Koetsier -- Espana / Vitaly Buyanovsky -- Berceuse / Jean-Michel Damase -- Alla caccia / Alan Abbott -- Concerto for horn and strings / Gordon Jacob. / text

Canzona per sonare no. 2 / Giovanni Gabrieli -- Four outings for brass / Andre Previn -- Suite for French horn, tuba, and piano / Alec Wilder -- Four sketches for brass quintet / Anthony Plog. / text