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- Genre: Electronic discussion groups--Saudi Arabia.
- 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 aim of this study was to investigate the issue of Saudi women’s right to drive through a critical analysis of the Saudi online discourse on women’s right to drive. In the study, the attempt was made to provide a critical contrastive analysis of the online debate for and against Saudi women’s right to drive. A review of the literature indicated that very little research has been done about critical discourse analysis (CDA) of online texts focusing on the representation and rights of Saudi women. Employing Fairclough’s three-dimensional framework, a corpus of written posts on the right to drive, written by Saudi women, was analyzed at three levels: (a) textual analysis, (b) discursive practice analysis, and (c) sociocultural practice. The findings of the analysis on the textual and discursive practice levels showed that the theme of ingroup and outgroup presentation was significant in the data. The findings also indicated that ideologies were expressed linguistically by means of naming, presuppositions, predication, and intertextuality. At the sociocultural practice level, the controversial struggle about the right to drive was situated in its broader sociocultural context, in which the complexity of the sociocultural practice of the Saudi Society was revealed.
ContributorsAlharbi, Badr (Author) / Adams, Karen L (Thesis advisor) / Long, Elenore (Committee member) / Warriner, Doris (Committee member) / Arizona State University (Publisher)
Created2016