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Transition from Natural Horn to Valve Horn in the 19th Century (2016)

Yerang Ko
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Name: Yerang Ko Main Subject: French Horn Research supervisor: Saunders, Pete Title of Research: Transition from Natural Horn to Valve Horn in the 19th Century Research Question: Why did composers in the 19th century use both natural horn and valve horn together in a single works? By the development from natural horn to valve horn, what becomes possible? Summary of Results: This paper examines the transition from natural horn to valve horn. There were many changes in this instrument in the 19th century, including different valve designs. Using analysis of compositions using both natural and valve horn it answers the questions: Why were there changes? What did this make possible for the player? What did this make possible for the composer? What are the advantages of each? The paper concludes that, although the natural horn is the ancestor of the modern horn, they remain different instruments for different musical purposes, often used together in a single composition. And modern horn players should be able to play both. The paper concludes with interviews of hornists who perform music from this period of transition, giving their views on the instruments. In the 18th century they coexisted, showing the advantages of each of them. The natural horn has a more open sound and it blends very easily with woodwinds and brass and each key of crooks gets different colors. During the early times of its use many people didn’t accept the valve system because they thought the natural horn was a more complete instrument and the sound of valve horn was not complete and was not clear. But many composers used the valve horn in their pieces, so the role of the valve horn became very important. Reasons were that the natural horn couldn’t be played in the low register and with full dynamics. And because of hand techniques, the natural horn was difficult to play in chromatic scales and with large intervals and so on. So, the natural horn was replaced by the valve horn in many pieces. Biography: I started to learn the piano when I was 8. My piano teacher’s daughter studied the horn at the College of music. My teacher suggested me to play the horn. The sound of the horn was pleased me. After deciding to start, I attended the arts middle school at the age of 13. I improved my musical talent by participating in wood quintet, brass quintet and an orchestra. Naturally, I moved on to attend a fine arts high school. I also learned various non-technical aspects of music such as musical theory and history through my high school curriculum. I participated in many competitions and also was a part of many different orchestras. At 18, I went to perform with my high school orchestra at Musikverein in Austria. It was unforgettable and I gained such a valuable experience from it.
typeresearch exposition
date23/02/2016
published23/08/2016
last modified23/08/2016
statuslimited publication
share statusprivate
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/253672/253673
published inKC Research Portal
portal issue3. Internal publication


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nameYerang Ko
copyrightYerang Ko
licenseAll rights reserved
usagespdf
nameHand Positions of the natural horn in F crook
copyrightYerang Ko
licenseAll rights reserved
usagesvideo
nameNatural Horn Harmonic Series in F crook
copyrightYerang Ko
licenseAll rights reserved
usagesvideo

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