Abstract
In this paper I demonstrate the implicit gender characteristics present in melodic material written for the "French" horn in orchestral literature from the Classical to late-Romantic periods, paying particular attention to the evolution of both their usage and signification. I begin by providing the historical background of the development of the instrument, first delineating the creation of the horn and its progression in the valved instrument we know today. The horn's origins and function have significant impact on thematic material in orchestral writing, even pre-dating the time period that is the focus of this essay. I also outline several semiotic methodologies and their importance in musical discourse, as well as their influence on performance practice.
The main body of my document consists of a case-by-case analysis of melodic material written for orchestral horn, in which I combine topic theory and semiotic analysis to examine selected works by Franz Joseph Haydn, Ludwig van Beethoven, Felix Mendelssohn, Richard Wagner, and Richard Strauss. Using this collection of composers, I investigate the role of instrumentation and usage of the horn to communicate possible meanings in symphonic literature and dissect how such works are both a reflection of and serve to reinforce patriarchal notions of the gender binary.