Dissertations / Theses: 'Bassoon music'

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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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Hausfeld, Gretchen Gayle. "The treatment of the bassoon in three chamber works of Igor Stravinsky." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186265.

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This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demonstrate why Stravinsky's works seem so ungrateful to many modern bassoonists who have been trained on the German system instrument.

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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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Woods, Kristilyn. "An Overview of the History and Current State of Bassoon Music in Mexico." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313456143.

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Patterson, Stephanie Willow. "An approach to contemporary music pedagogy for beginning and intermediate level bassoonists, including sixty-four original etudes." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5038.

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As composers continue to explore new horizons of classical music, performers are asked to stretch and explore their abilities as well. However, there is little pedagogical material that prepares students to learn the style and structure of this contemporary music. Many students primarily study etudes written in the style of pre-1900 music, leaving them without the tools to learn most music written since 1900. The pedagogical literature that does include music from the twentieth century is often very advanced, and lacks an introduction for younger students. This thesis includes a method of teaching contemporary techniques to junior high and high school level students, along with sixty-four original etudes composed to teach the scales, rhythms, meters, styles, and extended techniques that are often used in contemporary music. The accompanying text provides a detailed explanation of the process and pedagogical philosophy behind the etudes, including examples from different systems of music education. The etudes are specifically composed to teach fundamental skills for bassoonists, such as technical facility, solid subdivision and comprehension of meter, an understanding of different styles of music, and extended techniques that require proper fundamentals of tone production. They may also be used as sight-reading pieces or for students who have a specific need to learn certain techniques. Each section of etudes also includes an introductory section that guides the student through the process of learning the skill and performing the etude correctly.

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Bassett, Amy Lynn. "The Bassoon Pedagogy and Publications of Simon Kovar." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180538766.

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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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Wildey, Sarah Anne. "Historical performance practice in cadenzas for Mozart's concerto for bassoon, K. 191 (186e)." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3404.

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Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen. Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period. While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.

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LEE, SUN JOO. "A STUDY OF NATIONALISTIC EXPRESSION OF THE CHORO IN HEITOR VILLA-LOBOS'S CHAMBER WORKS WITH BASSOON." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115643242.

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Schwaljie, Adam Tobias. "Beginning Bassoon Instruction: A Curriculum Based in Part on the Teachings of Shinichi Suzuki." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc//view?acc_num=ucin1212058486.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisors: William Winstead (Committee Chair), Dr. Mark Ostoich (Committee Member), Dr. Ann Porter (Committee Member). Title from electronic thesis title page (viewed June 1, 2010). Includes abstract. Keywords: Bassoon method; tenoroon; beginning woodwind pedagogy; suzuki method. Includes bibliographical references.

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Koberstein, Gustavo Herman. "Francisco Mignone's Concertino para clarineta e fagote: A performance edition." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1665.

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Francisco Mignone was born in São Paulo on September 3, 1897 and died on February 19, 1986. A representative of Brazilian Nationalism and one of the most influential national composers, Mignone was active and prolific through his entire life. Few works of Francisco Mignone's late period are known and performed; nevertheless the interest in Mignone's work has been growing. Since many of his works are not published, efforts to discuss and prepare performance editions of his scores are of great importance. The Concertino para clarineta e fagote is representative of Francisco Mignone's last compositional period that, although written using a universal way of treating dissonances, intervals, or different pitch hierarchies, it is very Brazilian in its essence. The present performance edition highlights the human aspect of Mignone's character through an overview of the composer's last compositional period and compositional techniques. This essay contextualizes the Concertino within the composer's career and presents a performance analysis of the piece. It also contains a list of Mignone's works for the bassoon and a list of prizes awarded to the Brazilian composer.

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Haberkern, Kerry Ann. "Observations of Bassoon Playing in Malmo, Sweden and Copenhagen, Denmark." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376948169.

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Smith, Andrew Martin. "Remnants." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237661688.

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Thesis (M.M.)--Bowling Green State University, 2009.
Document formatted into pages; contains 1 score (vi, 29 p.) For clarinet, bassoon, and chamber orchestra (two trumpets, two horns, tenor trombone, bass trombone, percussion, piano, harp, and strings (six first violins, six second violins, four violas, four cellos, and two basses) Includes bibliographical references.

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Van, Klompenberg Martin J. "Characteristics of the School of British Bassoon Music of the Early and Mid-Twentieth Century, with Analysis of Representative Works." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/595633.

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Prior to 1851, music in Great Britain was influenced by the music of Germany, in particular by that of Johannes Brahms. This began to change, in part, because of the Great Exhibition of 1851, a forum held showing the best in raw materials, industrial design and new inventions, as well as the fine arts. This inspired new interest in English music and art. More importantly, this event led to the formation of the Royal College of Music, which opened in May of 1883. From this school an outpouring of distinctly English composers flowed, most of whom studied with Sir Charles Villiers Stanford. Among these were William Hurlstone, Thomas Dunhill, Gordon Jacob, and Ralph Vaughan Williams, each of whom wrote a piece for bassoon solo, bassoon and piano, or bassoon and orchestra. Jacob's student, Malcolm Arnold, added a solo bassoon composition of his own. These works are bound not only in their origin but in several common compositional traits. These traits include the use of quantities of phrasing within each section of a piece's form, melodies that strongly indicate a tonic key and use little rhythmic variation, the use of the bassoon's lowest range as the indicator of transitional material, and the change of role between the bassoon and the accompanimental voice in secondary themes.

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Marinello, Pollard Amy. "Solving the “Problems” of Extended Techniques: Annotated Performance Guides to Sofia Gubaidulina’s Bassoon Works." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337263893.

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Malmer, Erik S. "The Interpretation of Opera Excerpts for Bassoon: A Pedagogical Analysis of Selected Excerpts." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1573760448634845.

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Ott, Janelle (Bassoonist). "The Concerto for Bassoon by Andrzej Panufnik: Religion, Liberation, and Postmodernism." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849689/.

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The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik's understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popieluszko in 1984. Panufnik's relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik's compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. context of the commission and premiere is also examined. Additionally, the original manuscript and subsequent piano reduction are compared. Although the Concerto for Bassoon has been subject to formal analysis by several scholars, discussion of the piece is generally contained within a larger discussion of several other compositions, and a comprehensive analysis of the piece has not yet been presented. This document contains a thorough formal analysis of all movements, as well as analysis of Panufnik's compositional style within the context of serialism, postmodernism, and the new Polish school of composition. The Concerto fro Bassoon features several devices common to Panufnik's larger opus, including the se of a common three-note cell, strong contrasts between section and movements, and symmetrical patterns of transposition, metric alteration, dynamic alteration, and registral expansion.

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Seymour, John. "Syncretisms for wind quintet and percussion, a study in combining organizational principles from Southeast Asia with western stylistic elements /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6055.

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Thesis (M.M.)--University of North Texas, 2008.
For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).

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Duda, Cynthia M. "The City, The Girls, The Composer…The Phenomenon: Influences on the Performance of Vivaldi’s Bassoon Concertos at The Ospedale della Pietà." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1249490783.

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Patronik, Emily. "Concerto for Bassoon and Orchestra by Ellen Taaffe Zwilich:Background, Analysis, and Performance Application." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373995878.

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Gillick, Amy Suzanne. "Experimentation and nationalism in Francisco Mignone's works for basson a performance guide to the IInd wind quintet and Concertino /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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

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Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.

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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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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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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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Seymour, John. "Syncretisms for wind quintet and percussion: A study in combining organizational principles from Southeast Asian music with western stylistic elements." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6055/.

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Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.

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Paul, Claire Knob. "Nota a mark or sign /." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-04162009-081000/.

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Thesis (M.F.A.)--Georgia State University, 2009.
Title from file title page. Cheryl Goldsleger, committee chair; Craig Dongoski, Pam Longobardi, committee members. Description based on contents viewed Sept. 1, 2009. Includes bibliographical references (p. 30).

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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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Becker, Rachel Nicole. ""Trash music" : valuing nineteenth-century Italian opera fantasias for woodwinds." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/279018.

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Opera fantasias have been denigrated as insufficiently intellectual or serious, as derivative, as merely popular or sentimental. However, many of the perceived flaws were, if not hallmarks, at least accepted realities of Italian opera composing. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. I approach opera fantasias, instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material, both historically and theoretically, concentrating on compositions written for and by woodwind-instrument performers in Italy in the second half of the nineteenth century. Important overlapping strands in my theoretical framework include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. I have uncovered a large body of compositions and composers, many of whom have not been written about in English, through archival research in Milan, Naples, Parma, Bologna, and Palermo. This reveals trends in operas used for fantasias, temporally, spatially, and between instruments, as well as further trends in the use of specific melodies. I use contemporary reviews of performances and compositions to attest to the popularity of the opera fantasia throughout the second half of the nineteenth century in Italy, including oboist Antonio Pasculli as a case study. This often overlooked genre is intimately tied to the central canon and deeply connected to its social and musical contexts. Approaching the opera fantasia as a coherent and meaningful group of works clarifies a genre that has been consciously stifled and cultural resonances that still impact music reception and performance today.

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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

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Payne, Andrew J. "The Development of the Bassoon Idiom as Seen in Three Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1607082064118953.

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Varga, Karlsson Gabriella. "John Williams fagottkonsert The Five Sacred Trees 1. Eó Mugna 2. Tortan : analys av musikaliskt innehåll samt instudering." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2288.

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John Williams är att betrakta som en av giganterna inom den amerikanska filmmusikkompositionen. Förutom filmmusik så har han komponerat ett flertal beställda solokonserter för betydande instrumentalister och orkestrar, däribland The Five Sacred Trees för fagott och symfoniorkester som är skriven för New York Philharmonics 150-års jubileum och denna orkesters solofagottist Judith LeClair. I detta examensarbete analyseras de första två satserna från ett motiviskt, strukturellt och i viss mån harmoniskt perspektiv, samt genomgås hur det kan påverka instuderingsprocessen och författarens interpretatoriska val. Referensmaterialet som används är främst en pianoreduktion av stycket, samt en doktorsavhandling gällande styckets pedagogiska användningsområden av John Michael Lopinto från 2004. Slutsatser efter analysen inkluderar bland annat att de två satserna i stora drag kontrasterar varandra, att konserten innehåller så pass många olika klangkaraktärer att det krävs extra arbete från solistens sida för att kunna framföra denna med endast piano, samt att John Williams kontinuerligt utvecklar motiv från tidigare verk och inkorporerar dem i konserten och har fortsatt att arbeta på detta vis även efter tillkomsten av denna konsert. Min förhoppning är att det här arbetet ökar min egen och omvärldens insikter om denna konsert, och ökar sannolikheten för att detta verk framförs i större utsträckning i framtiden.

John Williams fagottkonsert, sats 1-2.

Medverkande: Gabriella Varga Karlsson, fagott

Georg Öquist, piano

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Dissertations / Theses on the topic 'Bassoon music'

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