This thesis is an historical, thechnical dn stylistic investigation of Mozart horn concertos. It includes a description of Mozart's life; the moment in his life where the concertos were developed. It contains information about Inaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limis instrument, as well as the way of the interpretation of these pieces had beed facilitated by the arrival of the chromatic horn. I found out that the knowledge of these concertos is essential for their interpreation.

The purpose of this manuscript is to provide a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, yet transcribed and adapted specifically for horn, hence, expressly designed to assist horn players in achieving greater success in jazz performance. By providing transcriptions and adaptations of significant performances from jazz history, horn players will have a resource with which they can better understand jazz performance practice. Featured artists include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums are as follows: "Autumn Leaves," Somethin' Else (1958), "Blue Train," Blue Train (1957), "How High the Moon," Ella in Berlin (1960), "Lester Leaps In," Jazz at the Philharmonic (1949), "Lover Man," The Magnificent Charlie Parker (1951), "Moritat," Saxophone Colossus (1956), "Naima," Giant Steps (1959), "On Green Dolphin Street," Kind of Blue (1959), "Polka Dots and Moonbeams," Jazz Guitar of Wes Montgomery (1960), "Satin Doll," The Trombone Master (1957), "Stella by Starlight," Stan Getz Plays (1952), "Straight, No Chaser," Genius of Modern Music 2 (1951).

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.

Yes / The Helpdesk was requested by Sida in July 2015 to undertake a desk study and mapping exercise to feed in relevant and updated information related to policy frameworks, ongoing programming, and future initiatives currently discussed to better inform Sida’s planned and on-going resilience focus. Sida requested that the study should pay particular attention to regional initiatives (including for example relevant IGAD initiatives), but should also include a mapping of relevant policy platforms, as well as planned and on-going programmes relevant for the Ethiopia, Kenya, Somalia and South Sudan country contexts.

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Yes / In this paper, a conical horn antenna has been designed for Ultra-Wideband ap-plications by loading its section with a metamaterial. The work aims first to compare results obtained by the wavelet-moment method to a simulation performed using HFSS. Secondly the conical horn is loaded with a very thin layer of metamaterial to enhance the radiation pattern and the bandwidth performance of the conical horn antenna and reduce the size of the antenna. The operating bandwidth of the proposed antenna is in the range of 10{13 GHz. The results obtained from HFSS and moment method are in good agreement. / Electronics and Telecommunications

Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.

The purpose of this study is to trace the development of a practically extinct woodwind instrument, the basset horn, and its use by composers as both a solo and an orchestral instrument. The first chapter concerns the development of the basset horn from the earliest imperfect specimen to the modern-day instrument. The second chapter deals with the physical characteristics that are peculiar to the instrument. The third chapter discusses the literature and musical history of the basset horn. An appendix provides a comprehensive listing of literature for the instrument.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1987. / Typsecript. Vita. Includes lists of published and unpublished works by the composer. Includes bibliographical references (leaves 169-173).

Thesis (M.A.)--Boston University / It has been the intention of the author to discuss in some detail the history and development of the French Hor n and its use in Chamber Music, up to the time when its position as an orchestral and chamber instrument was usurped by the valved horn. This covers a period of its use as an art instrument from the 17th century to the mid-19th century. These are of course the outward limits of the instrument's employment. [TRUNCATED]