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- Genre: Art--Provenance.
- Genre: Music--18th century--History and criticism.
- Creators: Arizona State University
Description
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.
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.
ContributorsGilbert, Joel Gregory (Author) / Ericson, John Q (Thesis advisor) / Swoboda, Deanna (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2014
Description
During the Nazi era, which is historically regarded as lasting from 1933-1945, the National Socialists both looted and made “legal” confiscations of art and artifacts they deemed “degenerate” from museums throughout occupied Europe. The art they seized was sold abroad in exchange for foreign currency that not only funded their war efforts, but also allowed for purchases of art for Hitler’s un-realized Führermuseum in Linz, Austria. The rapid transfer of objects flooded the art market, making this period one of the most prosperous times for collectors and dealers. However, due to the overall hasty nature of the displacements, the ownership history, or provenance, of the works became extremely convoluted. Institutions in the United States, as well as individual collectors, began to buy pieces, unaware of their provenance. Without this knowledge as a good-faith purchaser, many institutions never delved deeper into the background of the objects and the works remained in their collections until the present day. In this thesis, I argue that provenance research can shape a museum’s history through changing the relationship it has with its permanent collection. Insight into the ownership history of the collection must be made a priority in order for museums to remain transparent with their visitors, thus allowing for perceived notions of exclusivity, or distrust, to be eliminated. I researched two institutions, the Kunstmuseum Bern and the Krannert Art Museum, which recently examined their own holdings for incomplete attributions, with one establishment conducting a study after it became enmeshed in public scrutiny generated by a controversial bequest. Lastly, I employ both art historical scholarship and legal resources to investigate how provenance can be more widely used as a valuable asset in an increasingly globalized society.
ContributorsSmiley, Meghan (Author) / Fahlman, Betsy (Thesis advisor) / Codell, Julie (Committee member) / Afanador-Pujol, Angélica (Committee member) / Arizona State University (Publisher)
Created2019