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My name is Michelle Garasi. I am a Horn Instructor in Albuquerque, NM.  I am also a non-traditional student at the University of New Mexico, and much like my degree path, the journey to my first IHS Symposium was an unconventional one.

My love affair with the Horn came late in high school, but two years into my music studies at Florida International University, my journey was prematurely and abruptly ended with a near fatal car accident.  At the time, I chose to walk away from music-making.  But many years, and many children later, I am teaching horn, and studying Horn Performance at the University of New Mexico in Albuquerque.  My dear friend Nancy Joy encouraged me to apply to be a Guest Lecturer at the Symposium.  At the time, I wasn’t an IHS member – this honor, I thought, was only reserved for a select few.  Sure, I have experienced success understanding the language of teens and tweens, and auto-translating horn pedagogy into a language they could understand – but could I possibly have anything of value to offer this community?  I decided to move forward, despite my doubts, and submitted an abstract representing what I had to offer. 

I went about my normal purpose, to save the world, one horn at a time.  The first half of 2018 represented many miles of “horn-travel”.   I was a featured lecturer at the NMMEA Allstate Music Conference - the title of my lecture was “Whistling, Kissing and Pooping: Demystifying the Art of Horn Playing”.  I started attending the University of New Mexico to resume my Horn studies, and began performing with the Duke City Horns.  My Horn Professor, Dr. Michael Walker discussed the possibility of having Duke City Horns submit an entry for the Collegiate Quartet Competition.  My first thought was “You, too!?”  We began taking our rehearsals and preparations seriously and started to “interview” performance literature – we immediately loved Kerry Turner’s Sooners.  Then I listened to the AHQ perform Gershwin’s Summertime,  and Bernstein’s West Side Story and I was blown away.  I thought “YES!”  - the Duke City Horns felt the same way.  As I searched the Internet, I could not find the music for purchase.  I was devastated.  Then I reached out to Phoenix Publications, thinking “Well, they published all of the other AHQ music – maybe they can help?”  In less than 24 hours I received an email from Kristina Mascher-Turner, offering her assistance.  Then I looked at the footer, and a bit of research later, I realized this was THE KM-T, and she was willing to help us!  We had WSS, and Summertime was on its way after an email to Geoffrey Winter.  Could this really be, that the people who were so highly accomplished, were so generous, and kind?  This had to be an exception… right?

by Steven Schaughency

The following is a brief synopsis of the presentation given at the International Horn Society’s 50th Symposium. The intent was to introduce the audience to a sampling of the wide variety of musical situations the horn has found itself in over the last 100+ years. Since this space does not allow for an exhaustive or thorough overview, what follows will hopefully provide some basics for further exploration.

Often, a traditional education for hornists lacks any kind of basic overview of jazz history and more significantly, how correct performance practice (to use a classical term) applies to the diverse styles found within the idiom. As outsiders, we occasionally hear something played in a jazz style and think ”oh, that’s nice” but then return to playing and listening to music that our instrument is most associated with. Or we play the wonderful music of Alec Wilder, Doug Hill or some Fripperies and believe that we now have gained all we need to know about playing jazz style music. One can argue, in these situations, that most hornists have never seen the deep, jazz forest through the slightly jazz influenced, classical trees. Where does one start to discover the multitude of musical situations throughout jazz history that have included our instrument? Fortunately, almost the entire history of jazz music has been thoroughly documented through recordings. While performances of jazz certainly do involve on-the-spot improvisation and large sections of music that are never written down, recordings can still give us solid documentation of a moment in time in the development of the music.

The accompanying pdf list of 99 recordings(88 KB) is intended to give players a starting point for finding historically or musically significant tracks. The list is divided into 3 sections: the horn in big bands and orchestras, the horn in small group situations of less than 10 players, and the hornist as group leader.

• Big bands are often referred to as the orchestras of jazz music. They give composers and arrangers an opportunity to create more organized sounds. The horn has provided more possibilities in the palette of sound available to these writers.
• Small group situations, including those with hornists as group leaders, also provide similar possibilities, on a more intimate scale. We can easily consider this the chamber music of jazz.
• Last but not least are the many individual horn players who have participated in these recordings. While some tend to specialize in one particular area, others have taken part in scores of recording sessions over a wide spectrum of styles and groups.

English version

1971년 서울출생 예원, 서울예고, 서울대학교 음악대학졸업 하였고 독일 Essen Folkwang Musikhochshule 에서 Diplom과 Konzert Examen을 졸업하였다. 독일 유학당시 Düsseldorf Kammerorchester 객원수석을 역임하였고 귀국후에 KBS교향악단 수석을 역임하였다. 일본 JHS 초청연주,일본 Tokyo 앙상블 (리더, 김창국) 초청연주, 일리노이주립대 초청독주회 및 마스터클래스, 제주국제관악제 초청 soloist, Shenzhen International Horn Festival에 초청받아 독주회와 마스터클래스를 하였다. 2005, 2015, 2017년에 교향악축제 협연자로 연주하였고 귀국후 2001~현재까지 매년 예술의전당 리싸이틀홀에서 독주회를 개최했으며 2009~현재 매년 Berliner Philharmonie Kammermusiksaal 에서 독주회를 개최하였고 독일 Berlin Kammerorchester와 협연하였다. 올해 11월에는 일본에서 열리는 Asia Horn Festival에 독주자와 마스터클래스로 초청받았으며 12월에는 예술의전당 독주회가 예정되있다. 

현재 한국예술종합학교교수로 재직하고 있으며 TIMF앙상블, Solus of Seoul Brass quintet, 제주국제관악콩쿨 심사위원으로 활동중이다.

기본기가 중요한데 자연스럽게 호흡하고 내뱉고... 경직되지 않게 하고 아르페지오나 스케일 연습많이시키는 편이예요~ 곡이나 애튜드 할때는 자연스럽게 노래가 흘러가도록 하게하지만 음정,리듬 이런거 정확하게 하는게 중요하다고 가르침니다.