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.

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The writer has examined the performance practices of the positive, portative, and regal organs in both the sacred and secular genre. Throughout the research the aspect of the prominent position of the church and its dogmatic practices were demonstrated to be highly influential in the usage of the organ. Church accounts of payments to various organ builders are the principal source of the information concerning the liturgical function and organ placement within the church. The secular aspect of the performance practices of the small organs was dominated by the religious dramatic mystery and miracle presentations and the various court entertainments. The utilization of the organ in both the sacred and secular genres was an important link in the lessening of the church's dominance over the people of the time.The development of musical styles and the progressive accumulation of construction and acoustical properties was directly proportional to the development and evolution of these small, organs. The span of the three centuries analyzed in the thesis were the most critical years in this process of evolvement.The vocal and instrumental forms were explored in regard to the function of the organ as a solo or ensemble member. Specific circumstances of employment have been investigated as to the nature and the probable organ model indicated for a specific performance situation.In addition, the thesis has analyzed prominent composers, performers, and writers whose contributions were influential during their lifetime and in the course of music performance practices in general. / School of Music

The need for a valve mechanism of some type was first felt by French horn players, and after the horn's valve system had somewhat proved itself to composers as well as instrumentalists, it was adapted for the other brass instruments.

No description available.

The purpose of this paper is to acquaint the reader with the state of the recorder as a musical instrument in this century. Information has been gathered from standard texts and journal articles to gain more recent ideas. The work is divided into three sections: (1) a brief history of the instrument; (2) a biographical sketch of Arnold Dolmetsch, the man who was most responsible for the revival of the recorder in this century; and (3) a detailed examination of the use of the recorder today. This last section includes the recorder in education, music written for it, recorder performance and organizations, and construction of the recorder. An appendix lists recorders that are available to players in this country. It is this writer's conclusion that the recorder today has regained its status as a performing medium.