E-flat中的按键号角 - 美国大都会艺术博物馆展品查阅

品名（中）	E-flat中的按键号角
品名（英）	Keyed bugle in E-flat
入馆年号	2016年，2016.502a–g
策展部门	乐器（Musical Instruments）
创作者	Henry Sibley【美国人】
创作年份	公元 1840
创作地区	美国, 马萨诸塞州, 波士顿（United States, Massachusetts, Boston）
分类	Aerophone唇形振动喇叭（Aerophone-Lip Vibrated-horn）
尺寸	6 3/4 × 4 1/2 × 17 7/16 英寸 (17.1 × 11.4 × 44.3 厘米)
介绍（中）	带键军号是十九世纪中期美国一种特别突出的铜管乐器。尽管1814年出现了阀门铜管乐器，这种乐器能发出更响亮、更均匀的声音，但在19世纪60年代，它一直是军事和民用乐队的特色独奏乐器。在美国，在欧洲采用短号很久之后，键控军号仍然是杰出的独奏铜管乐器。因此，该乐器在美国获得了更复杂的键控系统和生产价值。波士顿制造商Henry Sibley的这款键控军号与该乐器最著名的美国演奏家Edward Kendall有关。肯德尔曾与许多乐队合作，包括著名的波士顿铜管乐队，并在全国各地巡回演出。他因与乐队指挥帕特里克·吉尔摩相遇而被人们铭记，并与后者进行了一场音乐决斗。比赛中，演奏键控军号的肯德尔与演奏短号的吉尔摩对决。尽管键控号角因其温暖的声音和微妙的音调变化而备受赞誉，但技术上更灵活的短号最终成为乐队无可争议的领导者 Sibley是美国第一位著名的键控军号制造商。对本例音孔位置的修改表明，Kendall和Sibley可能共同完善了该乐器的设计。Sibley的乐器清楚地为E.G.Wright后来的键控军号设计提供了信息，包括大都会博物馆收藏的一个例子（2004.269a-E，1854年制造）
介绍（英）	The keyed bugle was a particularly prominent brass instrument in America during the mid-nineteenth century. It was a featured solo instrument in military and civilian bands through the 1860s, despite the advent in 1814 of valved brass instruments, which produce a louder and more homogenous sound. In the US, the keyed bugle remained the preeminent solo brass instrument long after the cornet was adopted in Europe. Consequently, the instrument attained a more sophisticated key system and production values in the US. This keyed bugle by the Boston maker Henry Sibley is associated with Edward Kendall, the most celebrated US performer of the instrument. Kendall played with a number of bands including the celebrated Boston Brass Band and toured throughout the country. He is remembered for his encounter with the band leader Patrick Gilmore, with whom he entered into a musical duel. The contest pitted Kendall, performing on keyed bugle, against Gilmore on cornet. While the keyed bugle was prized for its warm sound and subtle tonal inflections, the more technically agile cornet eventually became the undisputed leader of the band. Sibley was the first notable US maker of keyed bugles. Modification of placement of the tone holes on this example suggest that Kendall and Sibley may have worked together to refine the design of this instrument. Sibley’s instruments clearly informed the design of later keyed bugles by E.G. Wright, including an example held in the Met collection (2004.269a-e, made in 1854)