Description
The global trade in aerophones grew exponentially in the 19th century due to the creation of new models, the adaptation of chromatic playing mechanisms, the expansion of military and civilian bands, the dissemination of teaching manuals and the diffusion of specific repertoires. These new aerophones and their repertoires were incorporated into the musical groups of several countries during this period. The coexistence of different models in the same band promoted terminological miscellany that was recorded into their hand-copied scores. This work proposes a critical examination of musicographic and iconographic sources located at the historical archive of the Military Police of Ceará musical band in Brazil. Moreover, similar sources from other bands and bibliographic sources such as instrumentation manuals and music dictionaries published in the same period will also be examined. The objective is to discuss the lexicography and terminology of aerophones in the 19th century, taking as an example the specific case of the ophicleide. For the analysis of instrumentation, we will use the concept of “lineage of musical vocabulary” proposed by the German musicologist Wilibald Gurlitt, understanding that musical terms have affinities among themselves and belong to family groups. If, on the one hand, the spelling of the term did not vary much between Anglo-Saxon and Latin-speaking countries (ophicleide), except for Spain, which maintained the use of the primitive term (Figle or Ofigle), the family lineage of the instrument presents two supposed origins that will be addressed in this work. The ophicleide reached its peak in the 19th century, mainly through the instrumentation of musical bands, being included in works by composers such as Berlioz and Wagner, following a decrease in the 20th century.
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