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- Genre: Art--Study and teaching--Technological innovations.
- 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
The present study explored the use of augmented reality (AR) technology to support cognitive modeling in an art-based learning environment. The AR application used in this study made visible the thought processes and observational techniques of art experts for the learning benefit of novices through digital annotations, overlays, and side-by-side comparisons that when viewed on mobile device appear directly on works of art.
Using a 2 x 3 factorial design, this study compared learner outcomes and motivation across technologies (audio-only, video, AR) and groupings (individuals, dyads) with 182 undergraduate and graduate students who were self-identified art novices. Learner outcomes were measured by post-activity spoken responses to a painting reproduction with the pre-activity response as a moderating variable. Motivation was measured by the sum score of a reduced version of the Instructional Materials Motivational Survey (IMMS), accounting for attention, relevance, confidence, and satisfaction, with total time spent in learning activity as the moderating variable. Information on participant demographics, technology usage, and art experience was also collected.
Participants were randomly assigned to one of six conditions that differed by technology and grouping before completing a learning activity where they viewed four high-resolution, printed-to-scale painting reproductions in a gallery-like setting while listening to audio-recorded conversations of two experts discussing the actual paintings. All participants listened to expert conversations but the video and AR conditions received visual supports via mobile device.
Though no main effects were found for technology or groupings, findings did include statistically significant higher learner outcomes in the elements of design subscale (characteristics most represented by the visual supports of the AR application) than the audio-only conditions. When participants saw digital representations of line, shape, and color directly on the paintings, they were more likely to identify those same features in the post-activity painting. Seeing what the experts see, in a situated environment, resulted in evidence that participants began to view paintings in a manner similar to the experts. This is evidence of the value of the temporal and spatial contiguity afforded by AR in cognitive modeling learning environments.
Using a 2 x 3 factorial design, this study compared learner outcomes and motivation across technologies (audio-only, video, AR) and groupings (individuals, dyads) with 182 undergraduate and graduate students who were self-identified art novices. Learner outcomes were measured by post-activity spoken responses to a painting reproduction with the pre-activity response as a moderating variable. Motivation was measured by the sum score of a reduced version of the Instructional Materials Motivational Survey (IMMS), accounting for attention, relevance, confidence, and satisfaction, with total time spent in learning activity as the moderating variable. Information on participant demographics, technology usage, and art experience was also collected.
Participants were randomly assigned to one of six conditions that differed by technology and grouping before completing a learning activity where they viewed four high-resolution, printed-to-scale painting reproductions in a gallery-like setting while listening to audio-recorded conversations of two experts discussing the actual paintings. All participants listened to expert conversations but the video and AR conditions received visual supports via mobile device.
Though no main effects were found for technology or groupings, findings did include statistically significant higher learner outcomes in the elements of design subscale (characteristics most represented by the visual supports of the AR application) than the audio-only conditions. When participants saw digital representations of line, shape, and color directly on the paintings, they were more likely to identify those same features in the post-activity painting. Seeing what the experts see, in a situated environment, resulted in evidence that participants began to view paintings in a manner similar to the experts. This is evidence of the value of the temporal and spatial contiguity afforded by AR in cognitive modeling learning environments.
ContributorsShapera, Daniel Michael (Author) / Atkinson, Robert K (Thesis advisor) / Nelson, Brian C (Committee member) / Erickson, Mary (Committee member) / Arizona State University (Publisher)
Created2016