Thesis (M.A.)--University of California, Santa Cruz, 1994. / Typescript. Includes bibliographical references (leaves 152-155).

This thesis presents an historical and technical analysis of the Mozart horn concerti.

Wayne Barrington was a tenured member of the Chicago Symphony Orchestra for ten years and held positions with the LA Philharmonic, Pittsburgh Symphony, and San Antonio Symphony. He was an early member of the Chicago Brass Ensemble and a founding member of the LA Brass. While performing in these major orchestras and brass quintets, Barrington played alongside many notable musicians including Philip Farkas, Forrest Standley, Arnold Jacobs, Bud Herseth, Frank Crisafulli, Miles Anderson, Roger Bobo, David Krebhiel, and Christopher Leuba. Many of these musicians mentioned have received recognition in books and dissertations for their achievements as performers and pedagogues. Barrington, however, has not. Barrington was also a founding member and secretary of ICSOM, the International Conference of Symphony and Orchestra musicians. This organization helped improve the working conditions for musicians by creating transparency of orchestra salaries and giving musicians throughout the United States and Canada a say in ratifying their contracts. After Barrington's years as a symphonic musician, he transitioned from a full-time performer to a full-time pedagogue and taught for over three decades at the University of Texas at Austin, and several of his students went on to have successful careers of their own. His impressive career and influence are noteworthy. This lecture and the accompanying dissertation serve to pay tribute to the life and career of Wayne Barrington by offering a biography of his professional playing positions, union activism, teaching philosophy, and impact on several of his colleagues and students.

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The revival of interest in historical performance practice has led to much speculation concerning how early instruments might have been made, played and in particular how early ensembles might have sounded. At the beginning of the eighteenth century, the hunting horn became increasingly accepted as an integral member of the orchestra. This new role led to changes in the design of the instrument and also in player technique which in turn led to a change in the sound quality or timbre of the instrument. There are many surviving examples of eighteenth-century horns in museums and private collections worldwide and the significant variation amongst these instruments is evidence of this new and innovative era in the development of the horn. Perhaps the most significant and contentious debate in the discussion on horn technique from this period concerns how and in what situation the hand should be employed within the bell of the instrument. This is the central issue on which the following research has been based. A multifaceted approach was adopted in order to gain a broader insight into the mysteries surrounding the eighteenth-century horn. The various methods used include: acoustical analysis of the effect of the hand in the bell of the horn on intonation and ease of playing in the high register, and analysis of variation in tonal characteristics; ergonomic analysis which lends a practical perspective to the issues surrounding playing technique; bore profile analysis in order to efficiently and effectively compare a large amount of data concerning this fundamental aspect of horn design. The results have shown that an integrated approach to the analysis of eighteenth-century horns, performed systematically on measurements from a large database of over one hundred instruments, has the potential to provide an insight into the development of the horn from a number of different perspectives. A large scale analysis such as this allows trends to be observed which shed new light on regional variation in horn design and playing technique over time.

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In this poetry collection, I explore the intersections between reality, dream, myth, and memory. It begins with “The Accident,” a narrative poem recounting the event that throws the speaker into an anxiety-filled dream-world. The speaker is haunted by the image of the deer that killed her father, an image that takes several forms and personae throughout, but occurs mostly in the fallible landscape of dream. The tones of these dreams penetrate the speaker’s waking life, and she finds herself more and more incapable of separating the dreams from reality. The speaker begins to search elsewhere for answers—divination, history, art, myth—but the landscapes are always off, always de-familiarized by dream. In the conclusion of the manuscript, the speaker loses all sense of self and becomes the symbol with which she has been so obsessed, unable to wake from the final dream.

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.