Incorporating Technology into Teaching of Non-Traditional Idioms
by Lydia Van Dreel, Associate Professor, Unversity of Oregon
Most young horn players, while loving the tradition of western music, also love popular music. Therefore, encouraging them to experiment with non-traditional idioms is a logical step in helping them to use the horn creatively. Interesting things can happen when students are given non-traditional performance parameters. Some students flourish at the opportunity to be expressive in a non-traditional genre, and they can bring that freedom and versatility back to their more traditional performance genres. Technological tools can help a student better understand musical structures and form in application, and can help them gain versatility in musical expression.
There are innumerable technologies currently being developed for music making. To experiment with non-traditional idioms, you can explore the technologies of sound manipulation and recording. Hardware technology uses tools like a mic, a mouthpiece pick-up, or a silent brass mute (with a mini plug) as a source signal sent into devices that process and change the signal. The mics or pick-ups then go directly into a variety of stomp boxes, pedals, or mixers that are designed to create effects like reverb, delay, and distortion. A more modern device such as an iRig guitar interface can take the horn signal into a smartphone, tablet or computer, and from there, you can use all sorts of software (apps, computer programs) to create the sounds you want. The stomp box effects that electric guitarists use can be found in apps such as Amplitube. A variety of settings can manipulate reverb, delay, distortion, etc.
May Tidbit #1 (2)
We are looking forward to seeing you in Los Angeles for the 2015 International Horn Symposium, August 2-8, 2015! The web site: http://www.ihsla2015.com/ has the list of featured artists, a daily schedule and the current list of over 40 exhibitors. This is going to be an exciting and packed event, make sure to register now so we can all meet this summer. See you there!May Tidbit #2
Election Results! The members have elected Elaine Braun, Patrick Hughes, and Andrew Pelletier to three year terms on the IHS Advisory Council (AC). Their terms will begin after the LA Symposium is completed. Congratulations and Welcome to the newest AC members! The members also passed both amendments to the IHS Bylaws. Thank you to all who voted.
Welcome from Ab Koster
Welcome friends and anyone interested in our beautiful instrument!
It is my great pleasure to announce that in this issue we are drawing attention to some Scandinavian horn players. Of course we cannot feature all the great and important players of these four countries so we had to make a choice. We chose those players who influenced and still influence many horn players in the world should be mentioned. Frøydis Ree Wekre, Wilhelm Lanzky-Otto, Esa Tapani and Tone Sundgård Anker are or were players with careers performing in first class orchestras, playing as soloists, making recordings, and teaching many students around the world. As the IHS wants to advance the connection between all countries in the world, we will start with these excellent Scandinavian players who have influenced all continents.
I have been a member of the IHS since 1975. Since then, I have attended many International Horn Symposia in the U.S. and Europe. The contacts you make there and the players and horn makers from all over the world you will meet there are experiences never to forget. Please become a member!
Best regards from Hamburg, Germany,
Ab Koster, IHS Advisory Council
Frøydis Plays Buyanovsky
When most of us hear the words “horn” and “Scandinavia,” the next thing that comes to mind is “Frøydis!” No feature on Nordic horn playing would be complete without her. Frøydis Ree Wekre has been an inspiration to generations of musicians worldwide through her exquisite musicianship and pedagogy. Among Frøydis’ own teachers was the great Vitaly Buyanovsky. Here is her live recording of Buyanovsky’s “España” from the Avignon, France IHS symposium in 1982, an interpretation straight from the source. Tusen takk!
Tone Sundgård Anker
Tone Sundgård Anker was born in Trondheim, Norway. She was educated as a music teacher at Østlandets Musikkonservatorium in Oslo. After her teaching diploma she graduated with an orchestral diploma from the Hochschule für Musik Trossingen in Germany as a student of professor Francis Orval. Furthermore she took soloist- and chamber music diploma from Hochschule für Musik Winterthur, Switzerland, with teacher David Johnson. Since 1996 Tone Anker has been the solo horn player in Odense Symfoniorkester, Denmark, and has had several solo performances with this orchestra. She is active as a teacher at Odense Musikskole and Det Jyske Musikkonservatorium and Southern Denmark Conservatory of Music. Besides this she frequently plays chamber music and is a member of a trio for horn, violin and piano. She was interviewed for the IHS E-Newsletter by Advisory Council member Kristina Mascher.
Study with Wilhelm Lanzky-Otto
by Fergus McWilliam, Berlin Philharmonic and the author of "Blow Your OWN Horn"
For an intensive period of several weeks in the summer of 1978 I had the great good fortune to study with the great Danish hornist and teacher Wilhelm Lanzky-Otto. I visited him daily at his private home in Stockholm, each time for up to 6 hours of the most intense work I think I ever did in my life. He was in his 70th year at the time and no longer played the horn, so I never heard his famous sound, but his pianistic skill and musical knowledge seemed to know no limits. The whole time he sat at the piano and accompanied me through what seemed like the entire solo repetoire for horn.
Wilhelm never really commented on my horn playing in any technical terms, instead he concentrated on the music I was attempting. These seemed in fact to be more coaching sessions than horn lessons. He was such a good pianist and sensitive accompanist, that he could and would allow me to indulge in all kinds of ill-considered tempi. If I unconsciously started to speed up or slow down he would simply indulge me until I hit the wall. Then he would just look at me quizzically and the point was made. I cannot remember him ever telling me how to interpret something, rather he seemed to want me to find my own voice. And along the way I soon discovered that every musical change was accompanied by an appropriate technical adjustment. It was the discovery of this formula which has confirmed the basis of my own teaching: that musical playing leads to technical improvement.
