This paper reconstructs the sound of 19th-century alphorns based on contemporary written descriptions, which allows for a better understanding of literature and compositions that quoted and imitated the alphorn throughout the 19th century. In the absence of sound recordings, historical documents and literary sources provide valuable insights into the timbre of these traditional Alpine instruments. The research examines descriptions from 19th-century texts, comparing them with modern understandings of musical timbre. By analyzing the language used to describe the alphorn’s sound, the study identifies recurring descriptors and contextualizes them within the broader acoustic environment, including the influence of natural sounds like waterfalls and echoes. Historical sources reveal a complex perception of the alphorn’s timbre, described in terms of its resemblance to muted trumpets and a blend of brass and woodwind qualities. Authors such as Hermann Alexander von Berlepsch and François-Joseph Fétis provided detailed accounts, noting contrasting characteristics like “rough”, “soft”, “sharp”, and “melodious”, which varied with the listener’s distance from the instrument. These descriptions highlight the alphorn’s unique sound profile, distinct from modern perceptions that emphasize a warmer, fuller timbre. The findings underscore the importance of considering ecological and psychoacoustic contexts in the study of historical musical instruments.

中文翻译：

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19 世纪的阿尔卑斯号听起来如何？根据其音乐音色的文字记录进行重建


本文根据当代书面描述重建了 19 世纪阿尔卑斯号的声音，可以更好地理解整个 19 世纪引用和模仿阿尔卑斯号的文学和作品。在缺乏录音的情况下，历史文献和文学资料为了解这些传统阿尔卑斯乐器的音色提供了宝贵的见解。该研究考察了 19 世纪文本中的描述，并将其与现代对音乐音色的理解进行了比较。通过分析用于描述阿尔卑斯长号声音的语言，该研究识别了重复出现的描述符，并将它们置于更广泛的声学环境中，包括瀑布和回声等自然声音的影响。历史资料揭示了对阿尔卑斯长号音色的复杂认知，描述为它与静音小号的相似性以及铜管乐器和木管乐器品质的混合。赫尔曼·亚历山大·冯·贝尔莱普施 (Hermann Alexander von Berlepsch) 和弗朗索瓦·约瑟夫·费蒂斯 (François-Joseph Fétis) 等作者提供了详细的说明，指出了“粗糙”、“柔和”、“尖锐”和“悠扬”等对比特征，这些特征随着听众与乐器的距离而变化。这些描述强调了阿尔卑斯长号独特的声音特征，与强调更温暖、更饱满音色的现代观念截然不同。研究结果强调了在历史乐器研究中考虑生态和心理声学背景的重要性。