Preferred Name

Daniel Atwood

Creative Commons License

Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License.


Date of Graduation

Spring 2017

Document Type


Degree Name

Doctor of Musical Arts (DMA)


School of Music


Ian Zook

Jonathan Gibson

Jo-Anne van der Vat-Chromy


The horn originates from the hunting fields of Europe and shares a particularly strong relationship with the country of France. During the fourteenth century, the hunt was a form of recreation in which the royalty and nobility of France passionately engaged. This patronage of the nobility led to the writing of many hunting treatises that contain hunting calls, the first music written for horn.

For hundreds of years, French composers have written compositions for solo horn and piano and continually include hunting calls, or passages in the style of hunting calls, into their works. Through continual reference and inclusion of hunting calls in their works, French composers have created a lineage of horn music that can trace its roots to the hunt. As such, a deeper and more impactful interpretation of these works can be achieved through studying the history of the horn, the European hunting tradition, and the music of the hunt.

This thesis delineates the inseparable relationship that the horn has with the European hunt, with a particular focus on France. Specific attention will be given to the origins of hunting calls and the treatises in which they are annotated. This thesis traces the legacy of hunting calls within the French compositions for solo horn and piano. The works Fantaisie pour Piano et Cor by Frédéric Duvernoy, Villanelle by Paul Dukas, La Chasse de Saint Hubert by Henri Büsser, En Forêt by Eugène Bozza, and Variations sur une Chanson Française by Marcel Bitsch constitute a representation of this lineage and will be analyzed through the lens of the hunting call legacy.



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