Chapter 1: Introduction

Throughout my years of teaching instrumental music in Australia I have had the privilege of educating students ranging from ages eight to eighteen. While I have occasionally mentioned the earlier variants of the horn in passing, I have observed a significant gap in the historical knowledge students receive about the instruments they choose to play. Many young musicians are unaware of the rich history and development of their instruments, which could deepen their understanding and appreciation of their craft.

During my time at university, I made a deliberate choice to explore the historical counterpart to the modern horn—the natural horn. Through this journey, I not only discovered how engaging and rewarding it is to learn the natural horn, but I also came to appreciate its immense value as a pedagogical tool for improving technique and musicality on its modern equivalent.

While similar workshops have been conducted in other contexts—often by brass players demonstrating the harmonic series or introducing historical instruments—there appeared to be a noticeable absence of such initiatives in Australia, and particularly in Perth. Given my connections within the educational horn community, especially through the Perth Horn Society, I saw a unique opportunity to fill this gap. This led me to develop a hands-on workshop where students of all ages could actively engage with history by constructing and playing their own natural horns. By physically interacting with these instruments, students might feel inspired to further explore the history and evolution of their chosen instrument as part of their broader musical education.

My artistic research has been instrumental in shaping this workshop, focusing on what it takes to bring such an initiative to life and determining which activities and information are most engaging and beneficial for students. Through this exploration, I aim to provide a meaningful and inspiring educational experience that not only enhances technical skills but also fosters a deeper connection to the historical roots of the horn.

                                              Motivation for the research and project

Ever since I began playing the horn over fifteen years ago, I have been deeply fascinated by the study of history and its role in shaping our understanding of various subjects, including music. As I progressed in my horn studies, I encountered repertoire spanning multiple centuries, each piece offering insight into the evolution of the instrument and its performance practices. However, it was not until I reached university that I was introduced to the Historically Informed Performance (HIP) movement through my teachers and lecturers. This movement, which emphasizes educating modern musicians in the instruments, techniques, and stylistic approaches of past performers, immediately captured my interest. It opened the door to an entirely new perspective on my instrument, prompting me to explore its origins and historical development.

My first hands-on experience with historical horns occurred during a recital, where I chose to perform Franz Strauss’ Nocturne on a Vienna horn. This instrument, with its unique timbre and a mechanism that has remained largely unchanged since the early 19th century, felt both exciting and rewarding to play. Inspired by this experience, I pursued an elective focused on the HIP movement, where I had my first opportunity to play a natural horn. Delving into Mozart’s horn concerti on this instrument was a transformative experience, leading me to dedicate my honours project to studying the process of learning the natural horn. Over the course of the year, I became intimately familiar with my university’s Webb-Halstead natural horn and explored historical treatises and contemporary pedagogical methods to understand the challenges and techniques required to master the instrument.

A crucial influence on my journey was my university horn teacher —David Evans — who shared my enthusiasm for the history of the horn. Their guidance and willingness to experiment with historical instruments in lessons were invaluable. We explored period repertoire, played duets, and tested various techniques, which significantly deepened my understanding. Without this mentorship and access to historical instruments, my passion for early brass performance might not have flourished.

One of the challenges in Australia is the scarcity of university programs dedicated to Early Music, particularly for brass instruments. Unlike in some European countries, where historical performance is more integrated into conservatory training, Australian musicians with an interest in early brass often rely on independent study and experimentation. My own experience—researching historical methods, learning through trial and error, and actively playing period instruments—has shown me just how beneficial early horn study is to overall musicianship and technical development.

Beyond my own playing, my experience as an instrumental teacher has given me valuable insight into how students approach learning an instrument. I believe that introducing certain aspects of historical horn playing alongside modern techniques could be highly beneficial for young musicians. Currently, the history of the horn is only briefly mentioned in lessons and classrooms, yet understanding its development provides valuable context that can enhance performance skills.

This realization inspired my research and project. I wanted to create an accessible way for students—ranging from absolute beginners to advanced high school players—to engage with the horn’s history through hands-on experience. My project involves guiding students in building their own basic horns, which they can then take home and continue to explore. These simple instruments will allow students to experiment with the harmonic series, practice fundamental hunting calls and melodies, and even explore elements of historical performance. Depending on the instrument’s design, students may also be able to practice basic hand-stopping techniques, laying the groundwork for future studies in historical repertoire.

Through this initiative, I hope to bridge the gap between modern horn education and its rich historical background, making the learning process more immersive, engaging, and informative for the next generation of players.