The Vuvuzela Horn has been a largely misunderstood instrument for centuries.
Well, okay, maybe more like 20 years.
However, the Vuvuzela Horn, having grown in popularity over the past few weeks, has sparked interest of hundreds.
No, seriously, just a hundred.
As a scholar and savant of the illustrious Vuvuzela instrument, my email in-box is full to the brim on questions about this wondrous instrument. No doubt, being a Vuvuzela Horn expert shouldn’t be taken lightly, though logistically and technically speaking, these orbicular muscles have never been near this instrument. Many years have been spent in recovering what little historical data and research there is on this instrument. What work I have accomplished, thus far, has been historically groundbreaking and will inevitably change the world’s perception of the Vuvuzela Horn.
The origin of the Vuvuzela, unfortunately, is a bit of a mystery. Articles and resources have contributed the invention of the horn to various designers and instrument makers; even as early as 1965 by instrument maker Freddie “Saddam” Maake. Reports, according to the scholarly resources of Google, have shown evidence of a metal Vuvuzela Horn existing far earlier than 1965.
The invention of this instrument, whose role in today’s society as the paradigm for instrumental personification, is still disputed and wildly understood that we’ll never really know. However, the church can’t seem to keep its hands out of things, especially with trying to take credit for this divine instruments design. The Nazareth Church, since the Vuvuzela Horn gained its popularity, has been making wildly ludicrous claims that the horn “belongs” to the church.
Though, one can see how the sound of the horn would call forth the “heavenly and all-mighty God.”
To smite the.
This article, linked accordingly, is nothing more than tripe and lies – though beautifully composed and articulated by the author.
The horn is roughly 2 feet in length and produces a Bb3, below middle C. Depending on ones technical prowess and proficiency, the instruments range is extremely versatile and can include the lesser used microtones. Many musicologists and scholars eagerly await for composers to begin integrating this instrument into their compositions. One can easily find sponsors interested in championing musicians of the Vuvuzela Horn.
We’re still waiting.
The Brazilian horn corneta, is the Vuvuzela‘s closest relative, taking on the role of “redheaded stepchild,” so-to-speak.
The Vuvuzela has been the subject of controversy and has caused many riotous events in history. According to many scientists, the high pressure created by the Vuvuzela Horn, at close range, can lead to hearing loss. At the height of the Vuvuzela‘s power, the sound pressure can reach well over 120 dB(A) (which is the threshold of pain, apparently). Many instrument makes and designers have since changed the instrument by modifying the mouthpiece (though we have no documentation of the engineering that went into this change). This modification effectively reduces the sound pressure by a staggering 20 dB(A). No doubt these advancements of the Vuvuzela Horn will help to further promote the flexibility and intensity of the horn.
I’m currently in the throes of writing the first treatise’s on the Vuvuzela Horn. In conjunction with my doctorate at Cincinnati Conservatory, I will also be authoring various pedagogical and method books ranging from Beginner to Advanced to Virtuosic.
If you’d like to be a apart of building and developing the pedagogical repertoire of the Vuvuzela Horn, please email me at:
And, finally, I’ve attached a fantastic video for your listening enjoyment. It beautifully show’s the virtuosic capabilities of the Vuvuzela Horn.