First to be published in the series was The Art of French Horn Playing by Philip Farkas, now Distinguished Professor Emeritus of Music at Indiana University. In 1956, when Summy-Birchard published Farkas's book, he was a solo horn player for the Chicago Symphony and had held similar positions with other orchestras, including the Boston Symphony, Cleveland Orchestra, and Kansas City Conservatory, DePaul University, Northwestern University, and Roosevelt University in Chicago. The Art of French Horn Playing set the pattern, and other books in the series soon followed, offering help to students in learning to master their instruments and achieve their goals.

The darkness grew, a few stars appeared in the sky, and the moon lifted above the rocks. Then soundlessly, like a ghost out of the night, a pale blur of wings swooped over the crowd of bandits, who ducked their heads and cried out in alarm. Vair crouched down as he caught a glimpse of crooked talons. It was an owl, gliding down to the top of the central rock. Even in the darkness, his eyes glared amber. Vair caught his breath as he stared at the creature. He had never seen an owl as big or as terrifying as this... A silver horn, lost in the mists of time, holds a secret that will change the land of Riverbourne forever... Vair is a brave young pine marten -- and a fine sword fighter -- eager for his first challenge at the Watersmeet Midsummer Fair. But Vair meets his match sooner than expected when he is captured by a silver fox and his bloodthirsty gang. These brutal bandits are no ordinary thieves, and more is at risk than Vair can imagine. Led by the strangely powerful Lord Owl, the gang of bandits is searching the country for a mysterious silver horn -- and Vair is determined to find it before they do... Book jacket.

Plains Indians were artists as well as warriors, and Silver Horn (1860-1940), a Kiowa artist from the early reservation period, may well have been the most prolific Plains Indian artist of all time. Known also as Haungooah, his Kiowa name, Silver Horn was a man of remarkable skill and talent. Working in graphite, colored pencil, crayon, pen and ink, and watercolor on hide, muslin, and paper, he produced more than one thousand illustrations between 1870 and 1920. Silver Horn created an unparalleled visual record of Kiowa culture, from traditional images of warfare and coup counting to sensitive depictions of the sun dance, early Peyote religion, and domestic daily life. At the turn of the century, he helped translate nearly the entire corpus of Kiowa shield designs into miniaturized forms on buckskin models for Smithsonian ethnologist James Mooney. Born in 1860 when huge bison herds still roamed the southern plains, Silver Horn grew up in southwestern Oklahoma. Son of a chief and member of an artistically gifted family, he witnessed traumatic changes as his people went from a free-roaming, buffalo-hunting culture to reservation life and, ultimately, to forced assimilation into white society. Although perceived as a troublemaker in midlife because of his staunch resistance to the forces of civilization, Silver Horn became to many a romantic example of the "real old-time Indian." In this presentation of Silver Horn’s work, showcasing 43 color and 116 black-and-white illustrations, Candace S. Greene provides a thorough biographical portrait of the artist and, through his work, assesses the concepts and roles of artists in Kiowa culture.

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