Espana, from Traveling impressions / Vitaly Buyanovsky -- Apres un reve, Nell / Gabriel Faure -- Deep remembering / Dana Wilson -- Concertino in D major / Johann Michael Haydn -- Toccata and fugue in D minor, DMV 565 / Johann Sebastian Bach, arr. Frederick Mills. / text

Thesis--State University of Iowa. / Vol. 2 contains a full score and an arr. for piano and horn of Stich's Concerto, no. 6. Includes bibliographical references. Also issued in print.

Dissertation (M.Mus. (Performing arts))-University of Pretoria, 2006. / Abstract in English and Afrikaans. Includes bibliographical references. Available on the Internet via the World Wide Web.

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This dissertation verifies Professor Han, Xianguang as the most significant Chinese horn player and teacher in the twentieth century. He was the first Chinese horn player to win in an international horn competition and the first president of the China Horn Association. He was the premier performer of the only known Chinese horn concerto: Fantasy-Concerto <In Memory>, composed by Professor Shi Yongkang in 1962. Professor Han also served as a judge for many international horn solo and chamber music competitions, and was president of the first (2012), second (2013), and third (2014) CCOM (Central College of Music) International Horn Festivals in Beijing. This dissertation explores Professor Han’s professional and pedagogical contributions to the horn world. These contributions will, in turn, provide an overview of the evolution of the horn and horn playing in China. The horn, historically and musically an instrument of Western Europe, was transported to Asia by many horn players and teachers, with Professor Han the most significant figure in its evolution in China. During Professor Han’s 60-year teaching career, he developed a special pedagogical system. A number of his outstanding horn students, including two sons, eventually became principal hornists in orchestras throughout China, with a few hired by European orchestras, and some have won international competitions. A secondary purpose of this dissertation is to offer historical and pedagogical information to young horn players, especially those of Asian descent, to give them a more thorough musical and aesthetical understanding of their instrument in the Asian history and culture. As part of his DMA Lecture Recital on September 6, 2015, the author presented the US premiere of Fantasy-Concerto <In Memory> in its piano reduction.

The thesis of this study is that there were three general styles of horn playing in the music of the classic period. The most basic horn style was closely related to the hunting horn as it was played in the field, and it is therefore termed the hunting-horn style. The use of hand stopping as a systematic technique broadened the melodic capability of the natural horn and brought about a school of performers who played in what is referred to as the hand-horn style. The hand-horn style in the classic period was essentially an extension of the hunting-horn style, retaining much of the musical character of the hunting horn. In addition to these two styles, the high-tessitura clarino style, which had been especially important in the trumpet and horn music of the late-baroque period, continued to be used in the classic period in a form consistent with the style characteristics of the later-eighteenth century.It is argued that the clarino style of the baroque period represents an adaptation of the natural brass instrument to a preconceived musical style. Most of the horn music of the classic period, on the other hand, is expressly suited to the acoustical properties of the natural instrument. It appears, in fact, that the introduction of the hunting horn into the orchestra influenced the classic style in its formative stages. At the same time, the cultural and musical trends of the eighteenth century were especially receptive of the innate musical qualities of the natural horn.A section of the fourth chapter, which deals with hand horn, treats at some length a phenomenon which has been noticed by other writers: the scarcity of hand stopping in the horn parts of classic orchestra scores. The present writer finds that the hand-horn style requires a more closed hand position than what is normally considered a good position by modern players. The hand position used by the handhornist gives the sound a more subdued quality. Thus, the hand-horn timbre did not afford the kind of resonance and blend which the classic composer sought from the horns in the orchestra.The appendices include photographs of an antique Raoux hand horn.