Horn Teaching at the Paris Conservatoire, 1792 to 1903: The Transition from Natural Horn to Valved Horn
- Author: Snedeker, Jeffrey
Book
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Contents
- Chapter 1 Introduction
- Overview of the Problem
- The Structure of this Book
- Chapter 2 Early Horn Tutors in France, the Formation of the Conservatoire, and the Conservatoire's First Horn Teachers
- Mid- to Late Eighteenth-Century Horn Tutors in France
- The Formation of the Conservatoire
- Horn Teaching at the Conservatoire 1802-1842
- Summary of Teaching Methods and the State of Horn Playing in Paris, 1830
- Backdrop for Music in Paris and at the Conservatoire in 1830
- Chapter 3 Valved Brass Instruments in Paris
- The Arrival and Application of Valve Technology in France
- Horn parts in Halevy's La Juive
- Hector Berlioz and his Traite d'instrumentation
- A Word on Further Developments in Valve Technology in Germany
- Chapter 4 Hand and Valve: Joseph-Emile Meifred, Jacques-Francois Gallay and Horn Teaching at the Conservatoire 1833-1863
- Joseph-Emile Meifred
- Meifred's Methode
- Gallay and the Natural Horn at the Conservatoire 1833-1863
- Chapter 5 Other Valved Horn Activity in Paris: Two Valves or Three?
- Georges Kastner
- Donatien Urbin
- Other Parisian Valved Horn Methods in the 1840s
- Chapter 6 Late Nineteenth-Century Developments at the Conservatoire
- Mohr, Gallay's Successor
- The Valved Horn in Paris in the 1860s, 1870s, and 1880s
- Garigue, Chaussier, and the Panel Comparison of 1891
- Francois Bremond and the Final Transition to Valved Horn
- Summary
- Chapter 7 Applications to Performing Practices and Hand and/or Valve Today
- The Aesthetics of Stopped Notes
- The Natural Horn, Stopped Notes, and Musicality
- The Valved Horn Conundrum
- Performing Practices for Valved Horn
- Conclusion
- Appendices
- Appendix 1: Foreign Language Quotations
- Appendix 2: Writings and Compositions of Joseph-Emile Meifred