Chapter 1 Introduction

Overview of the Problem

The Structure of this Book

Chapter 2 Early Horn Tutors in France, the Formation of the Conservatoire, and the Conservatoire's First Horn Teachers

Mid- to Late Eighteenth-Century Horn Tutors in France

The Formation of the Conservatoire

Horn Teaching at the Conservatoire 1802-1842

Summary of Teaching Methods and the State of Horn Playing in Paris, 1830

Backdrop for Music in Paris and at the Conservatoire in 1830

Chapter 3 Valved Brass Instruments in Paris

The Arrival and Application of Valve Technology in France

Horn parts in Halévy's La Juive

Hector Berlioz and his Traité d'instrumentation

A Word on Further Developments in Valve Technology in Germany

Chapter 4 Hand and Valve: Joseph-Émile Meifred, Jacques-François Gallay and Horn Teaching at the Conservatoire 1833-1863

Joseph-Émile Meifred

Meifred's Méthode

Gallay and the Natural Horn at the Conservatoire 1833-1863

Chapter 5 Other Valved Horn Activity in Paris: Two Valves or Three?

Georges Kastner

Donatien Urbin

Other Parisian Valved Horn Methods in the 1840s

Chapter 6 Late Nineteenth-Century Developments at the Conservatoire

Mohr, Gallay's Successor

The Valved Horn in Paris in the 1860s, 1870s, and 1880s

Garigue, Chaussier, and the Panel Comparison of 1891

François Brémond and the Final Transition to Valved Horn

Summary

Chapter 7 Applications to Performing Practices and Hand and/or Valve Today

The Aesthetics of Stopped Notes

The Natural Horn, Stopped Notes, and Musicality

The Valved Horn Conundrum

Performing Practices for Valved Horn

Conclusion

Appendices

Appendix 1: Foreign Language Quotations

Appendix 2: Writings and Compositions of Joseph-Émile Meifred