Eugenia Mitroulia
Eugenia was born in Greece where she studied Musicology at the Aristotle University of Thessaloniki (2001). During her undergraduate studies she researched the history of wind bands of Thessaloniki with a focus on the Wind Band of the Municipality of Thessaloniki. She had been a wind band musician for a few years during which time she gained an interest in wind band history and research of brass instruments. At that early period she had also worked as a children's choir conductor in the Municipality of Kalamaria in Thessaloniki.
In 2005 she completed a Masters of Music in Organology at the University of Edinburgh. During her Masters studies, among others, she completed a research project regarding the history of the City of Edinburgh Brass Band which led to the publication of the relevant book in 2006 by the Edinburgh University Collection of Historic Musical Instruments. During the same period she curated a temporary exhibition in the Edinburgh University Collection of Historic Musical Instruments, funded by the Scottish Museums Council, with instruments of the City Band and relevant archival material.
Consequently she completed doctorate studies at the University of Edinburgh under the supervision of Arnold Myers and Darryl Martin. Her thesis subject was the brasswind production of the maker Adolphe Sax with a focus on saxhorns, saxotrombas and relevant instruments made by Sax and other makers.
She has conducted research in numerous archives and private and public collections of musical instruments in Europe and the United States. She has presented papers in conferences focusing on the study of musical instruments and has published articles in relevant journals. She has contributed articles in the new edition of Grove Dictionary of Musical Instruments and Grove Dictionary of American Music and in The Cambridge Encyclopedia of Brass Instruments. Eugenia has been involved in various projects in the Edinburgh University Collection of Historic Musical Instruments and has worked as a consultant for the Musical Instrument Museum in Phoenix, Arizona.
Among her distinctions should be noted the Terence Pamplin Award for Organology and Musicology (2006), awarded by the Worshipful Company of Musicians (London), the Frederick R. Selch Award (2008) for the best student paper awarded during the 37th meeting of the American Musical Instrument Society in Calgary, Canada, and the Clifford Bevan Award for Excellence in Research (2010) awarded by the International Tuba and Euphonium Association for the publication of her article "The Saxotromba: fact or fiction?" in the Journal of the American Musical Instrument Society.
Supervisors: Arnold Myers and Darryl Martin
Address: [email protected]
In 2005 she completed a Masters of Music in Organology at the University of Edinburgh. During her Masters studies, among others, she completed a research project regarding the history of the City of Edinburgh Brass Band which led to the publication of the relevant book in 2006 by the Edinburgh University Collection of Historic Musical Instruments. During the same period she curated a temporary exhibition in the Edinburgh University Collection of Historic Musical Instruments, funded by the Scottish Museums Council, with instruments of the City Band and relevant archival material.
Consequently she completed doctorate studies at the University of Edinburgh under the supervision of Arnold Myers and Darryl Martin. Her thesis subject was the brasswind production of the maker Adolphe Sax with a focus on saxhorns, saxotrombas and relevant instruments made by Sax and other makers.
She has conducted research in numerous archives and private and public collections of musical instruments in Europe and the United States. She has presented papers in conferences focusing on the study of musical instruments and has published articles in relevant journals. She has contributed articles in the new edition of Grove Dictionary of Musical Instruments and Grove Dictionary of American Music and in The Cambridge Encyclopedia of Brass Instruments. Eugenia has been involved in various projects in the Edinburgh University Collection of Historic Musical Instruments and has worked as a consultant for the Musical Instrument Museum in Phoenix, Arizona.
Among her distinctions should be noted the Terence Pamplin Award for Organology and Musicology (2006), awarded by the Worshipful Company of Musicians (London), the Frederick R. Selch Award (2008) for the best student paper awarded during the 37th meeting of the American Musical Instrument Society in Calgary, Canada, and the Clifford Bevan Award for Excellence in Research (2010) awarded by the International Tuba and Euphonium Association for the publication of her article "The Saxotromba: fact or fiction?" in the Journal of the American Musical Instrument Society.
Supervisors: Arnold Myers and Darryl Martin
Address: [email protected]
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instrument-making scene, Sax’s contemporary makers accused him of plagiarism since intermediate-bore profile instruments, namely between cylindrical and conical, existed long before Sax’s saxhorns. Several intermediate-bore profile models of instruments also emerged after the appearance of saxhorns and saxotrombas, either in response to performers’ demands, or as a result of the constant quest of makers for ‘novelties’, which could conquer the marketplace. The majority of these instruments were made in circular wraps but often in other eccentric forms. Each of these instruments followed its own route in the course of time. Some were used for some time, others were never produced commercially in large numbers, and others (or their offspring) are still in use today.
This paper will examine intermediate bore-profile instruments from the late 1830s until the beginning of the twentieth century appearing mainly in France and Britain.
Instruments such as clavicors, antoniophones, tenor cors, ballad horns and others in
diverse forms will be examined and compared with saxhorns so as to reveal if any of these groups of instruments were separate species. Saxhorns will also be examined versus instruments predating them so as to investigate whether the allegations of Sax’s competitors were true. Issues of history, usage, but also classification will be
discussed and surviving examples from the Edinburgh University Collection and other important collections will be presented.
musical instrument making scene of Paris. The family of saxhorns as a
whole does not present a continuous change of features that would be
described as evolution. Each family member followed its own route in
the course of time. This paper will focus on the development of the
higher pitched instruments of the saxhorn family, from the sopranos to
the tenors. Sax's oppponents asserted that saxhorns were essentially
copies of existing instruments such as the clavicors. In this paper,
Sax's instruments are examined side by side with instruments of the
clavicor family at the same pitch and are also compared with instruments
of parallel traditions, such as flugelhorns, so as to reveal whether
there were any reasonable grounds for the case made by Sax's rivals.
The possible reasons why the highest saxhorns did not survive long are
also discussed.
instrument-making scene, Sax’s contemporary makers accused him of plagiarism since intermediate-bore profile instruments, namely between cylindrical and conical, existed long before Sax’s saxhorns. Several intermediate-bore profile models of instruments also emerged after the appearance of saxhorns and saxotrombas, either in response to performers’ demands, or as a result of the constant quest of makers for ‘novelties’, which could conquer the marketplace. The majority of these instruments were made in circular wraps but often in other eccentric forms. Each of these instruments followed its own route in the course of time. Some were used for some time, others were never produced commercially in large numbers, and others (or their offspring) are still in use today.
This paper will examine intermediate bore-profile instruments from the late 1830s until the beginning of the twentieth century appearing mainly in France and Britain.
Instruments such as clavicors, antoniophones, tenor cors, ballad horns and others in
diverse forms will be examined and compared with saxhorns so as to reveal if any of these groups of instruments were separate species. Saxhorns will also be examined versus instruments predating them so as to investigate whether the allegations of Sax’s competitors were true. Issues of history, usage, but also classification will be
discussed and surviving examples from the Edinburgh University Collection and other important collections will be presented.
musical instrument making scene of Paris. The family of saxhorns as a
whole does not present a continuous change of features that would be
described as evolution. Each family member followed its own route in
the course of time. This paper will focus on the development of the
higher pitched instruments of the saxhorn family, from the sopranos to
the tenors. Sax's oppponents asserted that saxhorns were essentially
copies of existing instruments such as the clavicors. In this paper,
Sax's instruments are examined side by side with instruments of the
clavicor family at the same pitch and are also compared with instruments
of parallel traditions, such as flugelhorns, so as to reveal whether
there were any reasonable grounds for the case made by Sax's rivals.
The possible reasons why the highest saxhorns did not survive long are
also discussed.
and popularisation of valved brass instruments. Some of the inventions
credited to him not only were challenged at the time but also seem to be
unsupported by either contemporary documents, e.g. patents, or by
surviving examples of his production. The authors have examined a large
number of extant instruments from the Sax workshop and have reconsidered
the content of Sax's brasswind patents and the evidence presented at the
court cases, and have examined other primary sources. Sax's
contributions to the development of valved brass instruments are
reassessed. The impact of Sax's inventiveness to the flourishing of
musical life in Paris and beyond is discussed.