Horn Pedagogy Syllabus

Course Number: 5140
Credits: 2

PHONE: 970.988.3838
EMAIL: jjohn169@uwyo.edu          


Meetings – 20%
Major Projects (6 total) – 80%

  • Annotated bibliography of major horn literature – 15%
  • Annotated bibliography of major horn builders, repairmen and salesmen – 10%
  • Basic history/evolution of the instrument (including outline, include articles!) – 15%
  • Hornists today and yesterday (could include interviews) – 15%
  • Horn Repertoire and Methods – 15%
  • Your Contribution to the Horn World – 10%


Horn, Barry Tuckwell, London: Macdonald and Company, 1983.
A Short Guide to Writing about Music, Jonathan Bellman, New York: Longman, 2000
Brass Instruments: Their History and Development, Anthony Baines


We will meet weekly (outside of lessons) in order to discuss research, writing, and presentation techniques expected at the graduate level. Materials covered are generally found in the reference section of the library but can also be found online using the library catalog, interlibrary loan, prospector, worldcat, LIBWEB, Google scholar, duckduckgo, and other research engines. Undergraduate students majoring in horn performance are expected to graduate with materials in order to give them an upper hand when attending graduate school and/or a deeper understanding of what the professional world will require. The 13 weekly meetings and 6 major projects will provide the student with enough materials to properly engage a conductor, educator or colleague.


The principal purpose of the course is for the student to become acquainted with the methods and resources necessary to do successful research in the field of music specific to the French horn. The student is expected to demonstrate organization and dissemination of research necessary to write successfully. One goal of the course is for the student to be able to produce independently successful research papers in graduate courses and seminars. Another goal (and requirement) is to create a personal web presence. All of the information you produce will be in a blog format and presented on either your own web blog/site or it can be hosted on my website with proper citations to you, properly recognizing your efforts.


An annotated bibliography (between 300 to 500 words) not only presents a selected list of books and articles on a particular topic, it offers a short description of the contents of each article and book and a brief evaluation of the usefulness of the source. You will build an annotated bibliography of the following sources. Be sure to include information solely about the author as well (you can get all of these materials from me with exception of the articles):

Horn by Barry Tuckwell
The Horn: A Comprehensive Guide to the Modern Instrument by Robin Gregory
The French Horn by R. Morley-Pegge
The Horn and Horn Playing by Horace Fitzpatrick
The Cambridge Companion to Brass Instruments ed. John Wallace and Trevor Herbert
The Early Horn, A Practical Guide by John Humphries
The Horn by Bernhard Bruchle and Kurt Janetzky
Brass Instruments: Their History and Development by Anthony Baines
The Horn Handbook by Verne Reynolds
A Critical Study of the Nineteenth Century Horn Virtuosi in France by Birchard Coar
The Horn and Horn Playing and the Austro-Bohemian Tradition by Horace Fitzpatrick

One bibliography from each of the following:
     The Horn Call
     The Brass Bulletin
     Historic Brass Society Journal
     Mozart Jahrbuch
     Horn Geek Website of your choice (e.g. hornplanet.com)

BACKGROUND: An annotated bibliography not only presents a selected list of books and articles on a particular topic, it offers a short description of the contents of each article and book and a brief evaluation of the usefulness of the source.

ASSIGNMENT: Build an annotated bibliography of the following sources.  Be sure to include information solely about the author as well (you can get all of these materials from me with exception of the articles).  Unpublished dissertations are often helpful.  Remember to put your entries in alphabetical order but author last name.:

FORMAT: Make sure your citations are in the format given in the Bellman Writing Guide, include indentation and punctuation.  Your project must be typed.  First two sentences of annotation should include a very small background concerning the author.  The rest will contain information regarding the book or article.


Skelton, Geoffrey. Paull Hindemith: The Man behind the Music. Victor Gollanez Ltd: London, 1975.

The biography written by Mr. Skelton describes, in full detail, the life of Paul Hindemith.  The book is presented in four main sections, which, chronologically, detail the events and Hindemith’s eventual rise to compositional prominence in the twentieth century.  Mr. Skelton included several letters which Hindemith wrote over the years and strategically dispersed them throughout, giving the book a very close and personal view to the reader about the events that molded Hindemith into a highly sought after musician.  This book describes the events which occurred while Hindemith was conducting, composing, and teaching giving the reader an idea of what sort of personal effort went into his compositions.  This book does offer a chronological list of works, but is not a good source for any one specific composition.

Due: April 3, 2015


BACKGROUND: Now that you have become acquainted with some of the major reference and research sources in the horn world you will now move to the next level and get to know several specific horn players and their affiliations with new consorts and how they helped develop the placement of the horn as a not only a powerful orchestral instrument but also a delicate chamber instrument.

ASSIGNMENT: Part 1 concerns players prior to the immersion of the valve horn into modern orchestral repertorie.  Part 2 concerns modern horn virtuosi and educators. Build an annotated bibliography of the horn players. If two or more people can be linked be sure to mention their relationship. Be sure to provide 300 – 500 words of pertinent information regarding their background, conductors under whom they played, other important instrumentalists with which they interacted, and other facts you deem necessary to write. Be sure to cite 2 – 3 sources (example below).

Hand Horn Pioneers

Wenzel Sweda, Peter Rollig, Johann and Franz Stamitz, Johann Zeddelmayer, Anton Fielder, Wenzel Rossi, Fredrich Otto, Johann Leopold, Wenzel Seydler, Johann Fischer, Franz Samm, Johan Schinderlarz, Johann Schindler, Andreas Schindler, Anton Hampel, Karl Haudek, Christopher Winh, Thaddaus Steinmuller, Karl Franz, Johaness Thurrschmidt, Joseph Fritsch, Johann Palsa, Carl Turrschmidt, Joseph Mateigka, Paul Schebka, Jan Vaclav Stich, Beate Pokorny, Joseph Ignatz Leitgeb, Jean-Joseph Rodolphe, Heinrich Dominich, Frederic Duvernoy, Louis Francois Dauprat, Eduard Constantine Lewy, Josephe Rudolphe Lewy, Johann Leopold, John Jakob Maresch, Steinmuller brothers/family, Oscar Franz, Henry Kling, etc…

Modern Valve Horn Virtuoso

David Pyatt, Ifor James, Franz Strauss, Barry Tuckwell, Eli Epstein, William VerMuelen, Gail Williams, Dale Clevenger, Phil Meyers, James Thatcher, Rick Todd, Vince deRosa, Nolan Miller, Stephen Dohr, Richard King, Radovan Vlatovic, Julie Landsman, Greg Hustis, David Jolly, Lowell Greer, Radek Barborák, Marie Luise Neunecker, Hermann Baumann, Dennis Brain, Alan Civil, Phil Farkas, Verne Reynolds, David Krehbel, Doug Hill, Eric Ruske, John Cerminaro, Christopher Leuba, Gunther Schuller, Julias Watkins, David Amram, Froydes re Wekre, Frank Lloyd… PLEASE ADD TO THIS LIST!


Wenzel Sweda: During a grand tour in 1681 Wenzel Sweda, part of a hunting entourage lead by Count Franz Anton von Sprock, found himself in the city Versailles, France. While in Versailles they came upon a musical troupe which used a trompe de chasse as part of the entertainment. Sprock was so impressed with the sound he instructed Wenzel Sweda learn how to play the instrument subsequently becoming one of the first Bohemian horn players, and very probably the first teacher of the horn. He was 18 years older than his stand partner Peter Rollig, who was also an integral cog in the beginning of the Bohemian school of horn playing.(1) It is possible that Sweda played a cors et trompes de chasse (outdoor hunting horn) under the direction of Jean-Baptiste Lully while visiting France and a waldhorn (indoor musical instrument) under Tobias Anton Seemann in Bohemia. Sweda and Rollig equipped themselves with the finest new instruments (modeled after what Sweda brought back) from the Nurnberg workshops led by Johann Leonard Ehe II (1664-1724), Freidrich Ehe (1699-1743), and Johann Wilhelm Haas (1648-1723).(2)

1 Horace Fitzpatrick, The Horn and Horn Playing (London: Oxford University Press, 1970), 91
2 Kurt Janetzky and Bernhard Bruchle, The Horn, trans. James Chater (London: B.T. Blatsford, 1977), 50.

SOURCES: Here are some articles that may help your cause!

Wakefield, David.  “A Chronological List of Horn Tutors.”  The Horn Call (recent issue), 69-72.

Vach, Milan. “About the Horn in Bohemia from Hudebni Nastroje: The First Teachers in Bohemia.”  Trans. Hanz Pizka. The Horn Call XVII/2 (April 1987), 30-33.

Toeplitz, Uri.  “—Lewy.”  Ed. Paul Mansur. The Horn Call XI/1 (October 1980), 75-76.

Becknell, Nancy.  “Louis Dauprat.”  Ed. Paul Mansur.  The Horn Call XI/2 (April 1981), 55-56.

Due: April 10, 2015


BACKGROUND: The horn itself has gone through a major transformation from its “inception” in the early 17th century.  Many builders have added their expertise to the development of the horn eventually creating the instrument we use today.  The horn is the only orchestral instrument that utilizes dozens of manufacturers to create what we consider a professional level instrument.

ASSIGNMENT: This is a two part project:

(1) Create a chronological outline (or timeline) of the history of the horn (the instrument itself).  Be sure to use key words such as: Inventionhorn, Waldhorn, cor la chasse, Alpenhorn, parforce, Jagerhorn, omnitonic, trompes de chasse, cor, Helical horn, corno da caccia, crooks, valves, etc… It would be a good idea to include certain pieces of music where these instruments were introduced. Develop the outline as if you were to write a major graduate seminar paper concerning the history of the instrument from the bronze age to today. You will use the information gathered from your annotated bibliography to arrange your outline. Be sure to include a thorough bibliography

(2) Write a 5 – 8 page abstract describing the major points concerning the development of the instrument including a vast amount of information regarding who did the developing. Include the following names and relevant information: Raoux, Lichnambschneider, Naglergasse, Cretin, Haas, Ehe, Gumbert, Gautrot, Blailey, Werner, Knopf, Merewether, Kruspe, Geyer, Stozel, Blumel, Perinet, Riedl,  find more… Be sure to be thorough and concise. The paper can be longer but only if the information provided is pertinent to the project. Be sure to cite all of your sources (use a lot of them don’t just copy New Groves or Wikipedia verbatim). Do not be concerned about particular performers unless they had a hand in the development of the instrument. 

SOURCES: Be sure to use the sources you have used for the previous projects.  Here are a few more sources to help guide you to the information you need. Use their bibliographies in order to find more information:

Damm, Peter. “300 Jahre Waldhorn: An Attempted Survey.” Ed. Jean-Pierre Mathez. The Brass Bulliten No. 31 (December 1980), 19-33.

Damm, Peter. “300 Jahre Waldhorn: And now something of the Hostory of the Horn in the Dresden Court Orchestra.” Ed. Jean-Pierre Mathez.  .” Ed. Jean-Pierre Mathez.  The Brass Bulliten No. 32 (February 1981), 19-41.

Barboteu, Gorges.  “The Evolution of the Horn in France and its School.”  Ed. James H. Winter.  The Horn Call VI, No. 2 (May 1976), 33-40.

New Groves (older version but look in the newer version as well) – Horn, $(i): General: Construction of the modern horn, 709-725.

Research through the Brass Bulletin, Historic Brass Society, and Horn Call is expected.

Due: April 17, 2015


Each example should be 300 to 500 words. Although most people in this field have a web site, be sure to research those who do not have a site and retrieve the following information:

     Who they are…
     Their background (why are they in the biz?)…
     Whom they service… soloists, orchestras, military bands, etc…
     Why are they so popular?

Carl Geyer, Richard Seraphinoff, Jim Patterson, George McCracken, Mark Atkinson, Keith Berg, Karl Hill, Dan Rauch, Englebert Schmid, Lowell Greer, Paul Navarro, Felix Cantesanu, Lukas Horns, Dennis Houghton, Chuck Ward, Wes Hatch, Walter and Bruce Lawson, Steve Lewis, Ricco Kühn, Ken Pope, Jacob Medlin, Ron Pinc, Conn (Model 8D), Yamaha (861, 862, 867), Hans Hoyer (6801, G10), etc…

Due: April 24, 2015


Using materials in the library, materials you own or materials found online or other sources which give you access to their music, create a learning plan for a beginning hornist through their undergraduate degree.  Choose books for starting someone on the horn, choose solos to keep them motivated.  Give reasons for your choice of methods and solos, stating what would be learned from each book or solo.  This can be presented in an outline format with an accompanying abstract. Include cognitive materials explaining how people learn fro young to old.

Due: May 1, 2015

Your Contribution to the Horn World:

Develop  a comprehensive article, web presence, and/or media presentation that is considered new and substantial, which would further interest in the world of the Horn. Your project will include original research, interviews, and performance examples.

Due: May 8, 2015


College of Arts and Sciences Guidelines for Students and Teachers Working Together:

http://www.uwyo.edu/AS/_files/current/Students%20and%20Teachers%20Working%20Together.pdf.  This useful set of guidelines was written by a faculty and student committee.  It is a concise attempt to inform students of instructor expectations as well as what students may expect of teachers and advisors.

Academic Honesty:

The University of Wyoming is built upon a strong foundation of integrity, respect and trust. All members of the university community have a responsibility to be honest and the right to expect honesty from others. Any form of academic dishonesty is unacceptable to our community and will not be tolerated. Teachers and students should report suspected violations of standards of academic honesty to the instructor, department head, or dean. Other University regulations can be found at: http://www.uwyo.edu/generalcounsel/

 Disability Statement:

If you have a physical, learning, or psychological disability and require accommodations, please let the instructor know as soon as possible. You must register with, and provide documentation of your disability to University Disability Support Services in SEO, room 330 Knight Hall, 307.776.6189, TTY: 307.766.3073.

Accommodations for Students with Disabilities:

In compliance with the UWYO policy and equal access laws, appropriate academic accommodations that may be required for students with disabilities can be discussed with the instructor. Note that accommodations will not be granted without appropriate written documentation.  Upon entrance to the course, students are encouraged to register with the Officer for Student Disabilities to verify their eligibility.

College of Arts and Sciences Attendance/Participation Policy:

University sponsored absences are cleared through the Office of Student Life (OSL). Students with official authorized absences shall be permitted to make up work without penalty in classes missed.  The Office of Student Life may also be able to confirm the validity of the student’s reasons for absences such as deaths in the family or road closures that prevented the student from getting to a class or contacting the instructor in a timely manner. Refer the student to the OSL for this. The A&S Dean’s office does not provide authorizations for student absences.  Refer to UW Regulation 6-713

Early Alert
In late September, you can view a progress report in WYOWEB for your classes. When you click on the Students tab in WYOWEB, you will see Quick Links on the left side bar, go to EARLY ALERT grades. You will see either a P for pass, or a D or F grade for each of your courses. If you have withdrawn from the class you will see a W. Be sure to talk to your instructor if you have a D or F grade. Remember, this is a progress report—not a final grade! This is an ideal time to visit with your instructor and/or your advisor to talk about your options and avenues for support in the class (call 766-2398 for the Center for Advising & Career Services).

New Tutor Center!
The STEP Tutor Center in Coe Library offers free evening tutoring for nearly 40 courses. Visit Coe Library between 6:00-10:00pm (Sun. – Thurs.) and visit the STEP website for full details about tutoring opportunities and other UW resources: www.uwyo.edu/STEP.