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Dissertations / Theses on the topic 'Bassoon and piano music'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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1

Edwards, Constance Marie. "The diversity of Czech music for bassoon and piano during the Communist era (1947-1989)." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/298802.

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The subject of this investigation is music written for bassoon and piano by twentieth-century Czech composers. While there is substantial output in this category, my focus will be on the works of three Czech composers: Jindrich Feld, Sonatine (1969); Vaclav Felix, Sonata Giocosa, Op. 40 (1974); and Jiri Teml, Teatro Piccolo, (1982). For each composer, I will provide a brief biography as well as a performance analysis of one composition in order to highlight the main features of the work. I chose these three composers because they represent a wide variety of compositional styles under Communist rule (1947-1989). The specific region of focus is the Czech Republic established in 1993, formerly part of Czechoslovakia, a nation created in 1918. Before that time, the Czech lands were part of the Austro-Hungarian Empire, and the Czech customs, culture and language were suppressed by the German-speaking Austrian rulers. In the 20th century, because Czechoslovakia was part of the Eastern Bloc from the late 1940s through the late 1980s, the wealth of literature from this region was not readily available to American performers. Thus, many of these works have not yet found their way into the standard repertoire of the United States.
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2

Bedont, Robert James. "The Creation of a Performance Edition and Piano Reduction of Justus Johann Friedrich Dotzauer's VIII Variations for Bassoon and Orchestra, Op. 40." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311590.

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A review of the published music for solo bassoon suggests that there is relatively little solo literature for the instrument that dates from the late eighteenth and early nineteenth centuries. This document focuses on the creation of a modern performance edition and piano reduction of a recently uncovered work for solo bassoon and orchestra by Johann Dotzauer, VIII Variations for Bassoon and Orchestra, Op. 40 (originally published by Freiderich Hoffmeister Musikverlag in 1817).A comparison of Dotzauer's work with a comparable published work by Anton Reicha, reveals that the two works are similar in their treatment of phrase structure, form, harmonic and melodic language, range, and solo passagework. This comparison has shown that Dotzauer's piece is representative of the type of writing for solo bassoon that skilled composers employed in the early nineteenth century. Through the editing process, errors and inconsistencies found in the newly-uncovered Hoffmeister Edition of VIII Variations such as corrections to pitches and notation, articulation markings, dynamic markings, and other changes have been corrected in a manner that both reflects the integrity of the Hoffmeister Edition and adds clarification for those who will perform the work. VIII Variations for Bassoon and Orchestra, Op. 40 by Johann Dotzauer, is a well-crafted composition for solo bassoon that will help fill a void in the literature for bassoon now that it is more accessible through the creation of a new performance edition and piano arrangement.
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3

Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

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Thesis (M.M.)--Bowling Green State University, 2007.
Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.
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4

McIntyre, Scott. "Folio of compositions 2008-2009." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7046.

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5

Cheng, Yu-sum Anthony, and 鄭汝森. "An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.

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6

Walzel, Robert L. "Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278713/.

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The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.
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7

Buys, Brenda Willer, and Brenda Willer Buys. "The Bassoon Music of Libby Larsen." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625881.

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Libby Larsen has written three pieces for the bassoon as a featured solo instrument. These pieces are Jazz Variations for Solo Bassoon (1977), Concert Piece for Bassoon and Piano (2008) and full moon in the city (2013). This document examines the origin, style, and form of these works to provide performers further information. Highlighted is Larsen's use of American vernacular elements in the pieces. American vernacular in this document refers to the use of influences derived from American culture, music, and language.
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8

Worzbyt, Jason Walter. "Music for Solo Bassoon and Bassoon Quartet by Pulitzer Prize Winners: A Guide to Performance." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3073/.

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The Pulitzer Prize in Music has been associated with excellence in American composition since 1943, when it first honored William Schuman for his Secular Cantata No. 2: A Free Song. In the years that followed, this award has recognized America's most eminent composers, placing many of their works in the standard orchestral, chamber and solo repertoire. Aaron Copland, Samuel Barber, Walter Piston and Elliott Carter are but a few of the composers who have been honored by this most prestigious award. Several of these Pulitzer Prize-winning composers have made significant contributions to the solo and chamber music repertories of the bassoon, an instrument that had a limited repertoire until the beginning of the twentieth century. The purpose of this project is to draw attention to the fact that America's most honored composers have enlarged and enriched the repertoire of the solo bassoon and bassoon quartet. The works that will be discussed in this document include: Quartettino for Four Bassoons (1939) - William Schuman, Three Inventions for Solo Bassoon (1962) - George Perle, Canzonetta (1962) - John Harbison, Metamorphoses for Bassoon Solo (1991) - Leslie Bassett and “How like pellucid statues, Daddy. Or like a . . . an engine” (1994) - John Corigliano. Each chapter will include a brief biography of the composer, a historical perspective of where that composition lies in relation to their other works, background information about the work, a formal analysis and suggestions for performance.
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Worzbyt, Jason. "Music for solo bassoon and bassoon quartet by Pulitzer Prize winners a guide to performance /." connect to online resource. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20021/worzbyt%5Fjason/index.htm.

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10

Jordan, Robert D. "Scale, arpeggio, and interval studies for the bassoon /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486397841220445.

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11

Masone, Jolene. "The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849603/.

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As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon. We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a significant aspect of art music today, and bassoonists are barely participating in the creation of this new repertoire. Performance practice often considers only the musical score; interactive electronic music regularly goes beyond that. The combination of technological challenges and inexperience can make approaching electroacoustic music a daunting and inaccessible type of music for bassoonists. These issues require a different language to the performance practice: one that addresses music, amplification, computer software, hardware, the collaboration between performer and technology, and often the performer and composer. The author discusses problems that performers face when rehearsing and performing interactive electroacoustic works for bassoon, and offers some solutions.
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Garduno-Albo, Jessica Esther. "The American Bassoon School: 1900-1950." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin14810318748756.

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Stomberg, Eric Wolf. "The Bassoon Sonatas of Victor Bruns: An Analytical and Performance Perspective (With an Annotated Bibliography of Works for Bassoon)." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085628883.

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14

Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.

The exam concert is archived for copyright reasons until 2023.

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15

Bell, Ian A. "African-American Bassoonists and Their Representation within the Classical Music Environment." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555519921599826.

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16

Lipori, Daniel George 1966. "Georg Wenzel Ritter (1748-1808) and the Mannheim bassoon school." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289600.

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Georg Wenzel Ritter (1748-1808) was one of the greatest bassoon players from the past. He was an indispensable part of the Mannheim orchestra, arguably the finest musical ensemble in Europe at that time. He was known all over Europe as a bassoonist with tremendous ability and frequently traveled abroad as a soloist. He also taught many students throughout his lifetime, including Etienne Ozi and Georg Brandt. The bassoon on which Ritter performed was a six-keyed bassoon. This instrument precedes the earliest known documented evidence of the six-keyed bassoon's existence by nearly fifteen years. Ritter also left us a fingering chart which lists an extreme range, going all the way up to eb2 Ritter composed several works which have been out of print for over 200 years or are only available in manuscript. These works include a set of quartets for bassoon, violin, viola, and bass instrument and a duet for two bassoons. These compositions give us an excellent indication of the high level of Ritter's playing ability through the many technically demanding passages. Moreover, other composers, including W. A. Mozart, knew Ritter's playing well and composed some of their own works with Ritter in mind for the bassoon parts. Some of Mozart's works for Ritter include the bassoon parts to the opera Idomeneo K366 and the Sinfonia Concertante for Winds K297b. Ritter is certainly an important figure in the history and development of bassoon playing and deserves more recognition as a prominent bassoon performer, teacher, and composer from the 18th century.
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Chiu, Yi-Chen. "An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505211031612502.

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18

Wilson, Jacqueline May. "The Concerto for Bassoon and Low Strings by Sofia Gubaidulina: a performance guide." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1109.

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When Bruno Bartolozzi published his revolutionary treatise New Sounds for Woodwind in 1968, composers worldwide were inspired to create new compositions which incorporated the use extended techniques. Since, extended techniques have become an inevitable requirement of the contemporary performer, becoming more and more common place as time has progressed. However, it seems that Bartolozzi's original complaint and call for change regarding the general pedagogical reluctance to incorporate these techniques into a standard woodwind, or more specifically bassoon, curriculum has been met with continued resistance over the past 42 years. Too often, performers learn extended techniques only when and if they are required to perform them, resulting in a small number of largely self-taught specialized musicians and a large number of performers deficient in and ignorant of an entire genre of repertoire. Historically, the bassoon has not been overwhelmingly favored by the great composers as a solo instrument, many of whom have preferred to compose concerti and sonatas for the piano, violin or cello, and prefer to focus on the bassoon within the orchestral setting. However, in the post-war era the bassoon has been the recipient of many solo and chamber compositions by extremely celebrated composers such as Luciano Berio (Sequenza XII, 1995), Elliott Carter (Retracing, 2002, Au Quai, 2002), and Sofia Gubaidulina, whose multiple compositions for bassoon have expanded the repertoire significantly. However, bassoonists whose educational experience has lacked exposure to the modern aesthetic will have considerably more difficulty learning these works, should they develop an interest in performing them. Inexperience with executing extended techniques, atonality, and even comprehension of the scores themselves is often an intimidating and overwhelming endeavor for the perspective performer. Though composed a mere 30 years ago, the Concerto for Bassoon and Low Strings by Sofia Gubaidulina has already established itself as an essential part of the solo bassoon repertoire, as illustrated by its illustrious performance history. This work, being both of a large magnitude and composed by a celebrated composer, has been met with great enthusiasm in the bassoon community. Certainly, and perhaps more so than any other work in the solo bassoon repertoire, the Concerto for Bassoon and Low Strings is uniquely rich in its formal and narrative structure. Due in part to the work's unique instrumentation, however, performances of this work are rare and almost entirely on the professional level. It is to the benefit of all advanced bassoonists though, that they be aware of and familiar with this work. When studied at the appropriate level, this score has the potential to provide students with a better understanding of 20th Century music, its stylistic components which include atonality, extended techniques, alternative notation, indeterminacy, and, on a broader level, exposure to a work of great musical sophistication and interpretive value. The challenge, however, lies in the fact that many students have not been exposed to these 20th Century elements thoroughly enough, if at all, to navigate their way through such a demanding work. Additionally, the score contains many ambiguous elements; no program notes are provided, and the key which appears in the preface of the score explains a very limited portion of the non-traditional markings to come. The performer is given little relative guidance. This document will seek to reconcile this deficiency in the form of a manual intended to guide the performer who is largely unfamiliar with or inexperienced in the modern repertoire of the 20th century and the world of extended techniques as they navigate their way through the score. By way of analysis, and performance suggestions this performance guide will endeavor to acquaint prospective performers with the work's unique narrative structure, non-traditional notations and extended techniques in hopes that they might be enthused to embark on educated and interpretive performances of one of the true masterpieces of the solo bassoon repertoire.
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19

Weissman, Nicholas. "Almenraeder, Heckel, and the Development of the Bassoon." Wittenberg University Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1624018824628166.

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20

Garcia, Noel A. "The Ergonomics of Playing Bassoon: A Natural and Stress Free Approach to Playing the Instrument." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1320327334.

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21

Winterbach, Veranza. "Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.

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Includes bibliographical references.
Gabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.
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22

Oyen, David W. "An examination of published orchestral excerpt study materials for bassoon and contrabassoon." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302107909.

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23

Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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24

Cannon, Joanne. "Playable ambisonic spatial motion : music performance techniques and mappings for the extended bassoon /." Connect thesis, 2009. http://repository.unimelb.edu.au/10187/7120.

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This research dissertation presents work undertaken to develop new performance techniques and mappings for the expressive control of spatial motion using Ambisonic projection. The dissertation reviews relevant research from the fields of Spatial Sound and Extended Instruments, and establishes playability as a useful set of criteria for a reflexive project methodology and evaluation. This reflexive research systematically investigates Trevor Wishart’s taxonomy of spatial motions through the development of new hardware, software, performance techniques and spatial motion analysis.
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Kolesnikov, Inna. "Master's piano recital." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/477.

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26

De, Val Dorothy Jean. "Gradus ad Parnassum the pianoforte in London, 1770-1820 /." Online version, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.308701.

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27

Wu, Shih-Ying. "A graduate piano recital." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1752.

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PROGRAM The Well-Tempered Clavier, Book I..............Johann Sebastian Bach (1685-1750) Prelude and Fugue XXI in B flat major Prelude and Fugue XXII in b flat minor Sonata N. 11 in A major, K.331.......Wolfgang Amadeus Mozart (1756 - 1791) Theme and Variations Menuetto Allegretto Intermission Images Series II................................Claude-Achille Debussy (1862-1918) Poission d' or (Goldfish) Rhapsodies Op. 79 .................................Johannes Brahms (1833-1897) No. 1 in b minor No. 2 in g minor Etude in A flat Major, Op. 1, No. 2.....................Paul de Schlozer (1841-1898)
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Catalan, Ramon E. "A graduate piano recital." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2084.

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The extended program notes include historical background on the composers and pieces being performed, as well as the analytical form regarding the works: Variations on "Ah vous dirai-je-maman," K. 265 by Wolfgang Amadeus Mozart; Sonata in C minor, op. 13 "Pathétique," by Ludwig van Beethoven; Consolation No. 3 and Funerailles by Franz Liszt; Fantasie in F minor, op. 49 by Frédéric Chopin.
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McNabb, Carol Sue 1955. "The correction of faulty finger coordination in bassoon playing: Traditional approaches and a new diagnostic tool." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290638.

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This document examines the issue of correcting faulty finger coordination in bassoon playing and describes the development and use of a diagnostic device which allows the player to determine precisely what finger(s) is out of synchronization with the others in transitions from one note to the next. A brief history of movement analysis techniques is given, and several studies of the finger movements of adult musicians which used various types of technology are discussed. In order to understand how movements occur, basic physiological information is provided about the brain, the forearm, the wrist, and the structure of the hand. Included is a discussion of motor programming as related to learning the complex sequence of movements involved in playing a piece of music on an instrument. Traditional strategies for improving finger coordination which are applicable to the bassoon have been selected from other woodwind resource books and articles. Mental strategies are also discussed, taken from the fields of "Inner Game" theory, sports psychology, and movement efficiency training. A description of the performance difficulties found in Fantasy for Bassoon, op. 86 by Malcolm Arnold concludes the study.
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Spaniol, Douglas E. "The F major bassoon concerto (RTT Schacht 30) of Theodor Von Schacht (1748-1823) /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487949836204228.

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31

Nicolls, Sarah Louise. "Interacting with the piano : absorbing technology into piano technique and collaborative composition : the creation of 'performance environments', pieces and a piano." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5511.

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This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the structure of the piano to better suit contemporary techniques and the addition of technological elements in piano playing. These ideas are represented by my own "Inside-out Piano", illustrated within the thesis. Throughout this work many new pieces for piano and live electronics have been generated and I hope these may also be useful as a resource for other pianists exploring their own interactions with the piano.
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Widstrand, Alex Christopher. "Lev Konstantinovich Knipper's concerto for bassoon and string orchestra: introduction and critical performing edition." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6338.

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Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In order to facilitate this concerto’s incorporation into the standard bassoon repertoire, the present study has produced the first-available critical edition of the score, piano reduction and solo bassoon part to this concerto. The edition is framed by a concise biography of the composer, including an overview of his various compositional style periods, historical background on the concerto itself and an assessment of its musical contents.
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Colton, Glenn David. "The piano music of Jean Coulthard." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32739.pdf.

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Metaxaki, Maria. "Considerations for pedalling Debussy's piano music." Thesis, City University London, 2005. http://openaccess.city.ac.uk/8449/.

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The importance of the pedals in Debussy's piano music has been emphasised in a wide range of literature concerning Debussy and French piano music in general. However, and despite the obvious absence of pedalling indications in Debussy's piano scores, no dedicated study has been made in identifying a possible meaning behind their absence. This study will attempt in developing suggestions for pedalling Debussy's piano music based on written as well as sound sources directly associated with the composer. This attempt is developed in two stages: firstly, by providing evidence that Debussy was always seeking to extract a continuous sonority from the piano, feasible only through the application of the pedal and secondly, by making cross reference of this evidence and Debussy's own use of the pedals in his piano roll recordings. Ultimately, it is revealed that Debussy was making extensive use of both the unacorda as well as of the damper pedal. Any obvious conclusions in this study are not meant to be used as a guide for pedalling but as a source of reference that may assist the informed performer in his/her continuous search into Debussy's musical world.
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Luo, Hung. "Selected late-Romantic Russian piano music." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/9737.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Also available in paper. Audio available on compact disc;
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Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.
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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2010. http://hdl.handle.net/2152/15888.

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Chiu, Ying-Ting. "Repertoire from the Gillet-Fox Competition and its importance to the bassoon literature." 2007. http://hdl.handle.net/1903/9736.

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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16988.

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"Romanian Music for Bassoon and Piano: Three New Arrangements and Recordings from the Works of George Enescu and Béla Bartók." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57271.

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abstract: ABSTRACT The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe. The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six-movement work Romanian Folk Dances by Béla Bartók. Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document.
Dissertation/Thesis
Supplemental Recordings - Appendix D
Doctoral Dissertation Music 2020
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"A portfolio of music compositions." 2003. http://library.cuhk.edu.hk/record=b5891434.

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Quintet for winds and piano -- Preludes and fugues for piano solo -- Variation for string quartet.
Wong Kong Yu.
Thesis submitted in: December 2002.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves ).
Abstracts in English and Chinese.
Abstract --- p.1 Page
Scores with Notes:
Chapter 1. --- Quintet for Winds and Piano
Note --- p.2 Pages
Score --- p.30 Pages
Chapter 2. --- Preludes and Fugues for Piano Solo
Note --- p.2 Pages
Score --- p.31 Pages
Chapter 3. --- Variations for String Quartet
Note --- p.2 Pages
Score --- p.9 Pages
Total Duration: 38 minutes
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42

"A portfolio of music compositions." Thesis, 2004. http://library.cuhk.edu.hk/record=b6073653.

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Abstract:
Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra.
Yang Jin Fong.
"June 2004."
Thesis (D.Mus.)--Chinese University of Hong Kong, 2004.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.
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43

Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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44

Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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45

Ramirez, Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen. "Technology integration in music : Exploration, preparation, and realization /." 1998. http://www.quicktime.com.

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46

"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

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Abstract:
Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
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47

"A portfolio of music compositions." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075468.

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Abstract:
Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work.
Tam, Chin Fai.
Thesis (D.Mus.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 391-392).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese; includes in Chinese.
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48

Birmingham, Lindsay Kubík Ladislav. "Trio for clarinet, bassoon and piano." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-09172003-161756/.

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Abstract:
Thesis (M.M.) -- Florida State University, 2003.
Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-27-04). Document formatted into pages; contains 38 pages. Includes biographical sketch.
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49

Stone, Maya. "Doctoral thesis recital (bassoon)." 2010. http://hdl.handle.net/2152/11593.

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Abstract:
Concertino for bassoon and piano / Ludwig Milde -- Recit, sicillienne et rondo pour bassoon et piano / Eugene Bozza -- Five short pieces for 2 bassoons / Spencer Lambright -- Dance suite for bassoon and piano / Paul Osterfield -- Suite pour bassoon avec accompagnement de piano / Alexandre Tansman
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50

McIntyre, Laura. "Doctoral thesis recital (bassoon)." 2014. http://hdl.handle.net/2152/28179.

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