Journal articles: 'Bassoon music'

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O'Loughlin, Niall. "Bassoon." Musical Times 126, no. 1711 (September 1985): 542. http://dx.doi.org/10.2307/964473.

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O'Loughlin, Niall. "Bassoon." Musical Times 129, no. 1742 (April 1988): 193. http://dx.doi.org/10.2307/965322.

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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.

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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.

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O'Loughlin, Niall. "Modern Bassoon." Musical Times 129, no. 1744 (June 1988): 307. http://dx.doi.org/10.2307/964894.

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O'Loughlin, Niall. "Modern Bassoon." Musical Times 127, no. 1720 (July 1986): 395. http://dx.doi.org/10.2307/965259.

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O'Loughlin, Niall, and Kristine Klopfenstein Fletcher. "French Bassoon." Musical Times 129, no. 1750 (December 1988): 669. http://dx.doi.org/10.2307/966664.

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Nechesnyi, Ihor. "Formation of Basson Classes at the Paris Conservatory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 98–111. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296802.

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The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoonists who were formed in the second half of the 18th and early 19th centuries. The author investigated the essence of the ideological and political factors of the French Revolution in the creation of a new democratic system that began to exist in professional musical education, which guaranteed its accessibility to the general population and free education on a competitive basis. The article provides a chronology of the beginning and development of bassoon classes on the path of professionalization of performance on wind instruments at the National Guard Music School, the National Institute of Music and the Paris Conservatory. The peculiarities of the implementation of the competitive system of professional training of instrumentalists, as well as the formation of didactic materials to ensure the educational process at the Paris Conservatory became the basis for further artistic education. This fact was carefully analyzed and became the basis for the conclusions of the article. The innovative guide of E. Ozi "School of Playing the Bassoon", was regarded as one of the first complete instructional materials for the bassoon. It was officially approved as a study guide for mastering the instrument, became a powerful impetus for the development of the conservatory students’ performance skills. The author emphasized and defined the role of E. Ozi in the creation of bassoon classes at the Paris Conservatory, as well as in the founding of the French performing school. It has been proven that an important factor in the development of French bassoon performance in the second half of the 18th century was the inclusion of the bassoon in the training programs of metris and its use in church ensembles to accompany choral singing during divine services

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Gbur, Bruce, and David DeBolt. "Bassoon Music of 20th-Century America." American Music 18, no. 1 (2000): 116. http://dx.doi.org/10.2307/3052397.

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Schillinger, Christin. "Repertory and the historic bassoon." Early Music 46, no. 3 (August 2018): 534–35. http://dx.doi.org/10.1093/em/cay059.

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Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano." Musical art in the educological discourse, no. 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.

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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

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Lembke, Sven-Amin, Scott Levine, and Stephen McAdams. "Blending Between Bassoon and Horn Players." Music Perception 35, no. 2 (December 1, 2017): 144–64. http://dx.doi.org/10.1525/mp.2017.35.2.144.

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Achieving a blended timbre between two instruments is a common aim of orchestration. It relates to the auditory fusion of simultaneous sounds and can be linked to several acoustic factors (e.g., temporal synchrony, harmonicity, spectral relationships). Previous research has left unanswered if and how musicians control these factors during performance to achieve blend. For instance, timbral adjustments could be oriented towards the leading performer. In order to study such adjustments, pairs of one bassoon and one horn player participated in a performance experiment, which involved several musical and acoustical factors. Performances were evaluated through acoustic measures and behavioral ratings, investigating differences across performer roles as leaders or followers, unison or non-unison intervals, and earlier or later segments of performances. In addition, the acoustical influence of performance room and communication impairment were also investigated. Role assignments affected spectral adjustments in that musicians acting as followers adjusted toward a “darker” timbre (i.e., realized by reducing the frequencies of the main formant or spectral centroid). Notably, these adjustments occurred together with slight reductions in sound level, although this was more apparent for horn than bassoon players. Furthermore, coordination seemed more critical in unison performances and also improved over the course of a performance. These findings compare to similar dependencies found concerning how performers coordinate their timing and suggest that performer roles also determine the nature of adjustments necessary to achieve the common aim of a blended timbre.

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Barber. "Charles Wuorinen's Bassoon Variations." Perspectives of New Music 56, no. 2 (2018): 23. http://dx.doi.org/10.7757/persnewmusi.56.2.0023.

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Fletcher, Kristine K., Jon P. Beebe, and Burchard Bulling. "Music for Unaccompanied Solo Bassoon: An Annotated Bibliography." Notes 48, no. 1 (September 1991): 102. http://dx.doi.org/10.2307/941793.

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FLETCHER, KRISTINE KLOPFENSTEIN. "THE PARIS CONSERVATOIRE CONTEST SOLOS FOR BASSOON." Music and Letters 71, no. 2 (1990): 306—b—307. http://dx.doi.org/10.1093/ml/71.2.306-b.

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Klitz, Brian, Jean Daniel Braun, Jaroslav Capek, Francois Devienne, and Klaus Hubmann. "Solos (1740); For Bassoon." Notes 45, no. 1 (September 1988): 157. http://dx.doi.org/10.2307/941413.

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Smith, Richard Langham, Dario Castello, Rudolf Hofstotter, Wolfgang Zerer, Erasmus Kindermann, Rudolf Hopfner, Giovanni Maria Bononcini, et al. "Sonate Concertate; Nona and Decima Sonate for Two Violins (Recorders), Bassoon (Cello) and Basso Continuo." Musical Times 134, no. 1808 (October 1993): 578. http://dx.doi.org/10.2307/1002872.

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Pedrosa, Ariana. "Keeping Choro Alive in Brazilian Concert Music for Bassoon." Revue musicale OICRM 6, no. 1 (2019): 37. http://dx.doi.org/10.7202/1062427ar.

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Weait, Christopher, Milton Barnes, Robert Capanna, Warren A. Cytron, John Heiss, Bruce Taub, and Donald Erb. "Anerca I for Bassoon Solo." Notes 50, no. 2 (December 1993): 766. http://dx.doi.org/10.2307/898523.

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Gordon, Neil A., David Astrachan, and Eiji Yanagisawa. "Videoendoscopic Diagnosis and Correction of Velopharyngeal Stress Incompetence in a Bassoonist." Annals of Otology, Rhinology & Laryngology 103, no. 8 (August 1994): 595–600. http://dx.doi.org/10.1177/000348949410300803.

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Musicians who play woodwind or brass instruments must generate extremely high intraoral pressures to achieve normal tone and volume in their music. Intraoral pressures of 130 mm Hg can be reached, while normal speech rarely exceeds 6 mm Hg. The inability to maintain an effective seal between the soft palate and the pharyngeal wall can manifest as difficulty in holding high notes or in playing sustained music compositions, or noise production from turbulent nasal cavity emissions. Throughout the literature, there are few reports of these entities. We will present the case of a 31 -year-old concert bassoonist who complained of “noise from her head” only when she played the bassoon. This resulted in numerous failed auditions and threatened her professional career. The diagnosis of velopharyngeal stress incompetence, as well as the Teflon injection augmentation procedure, was done under local anesthesia with the subject playing the bassoon. The use of videoendoscopic techniques allowed accurate, reproducible assessment of the defect and the operative procedure, and assisted in postoperative evaluation.

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Drakeford, Richard, and Ensemble Wien-Berlin. "Rossini: Six Quartets for Flute, Clarinet, Horn and Bassoon." Musical Times 134, no. 1804 (June 1993): 345. http://dx.doi.org/10.2307/1003069.

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Waterhouse, William. "OBSERVATION: A newly discovered 17th-century bassoon by Haka." Early Music XVI, no. 3 (August 1988): 407–10. http://dx.doi.org/10.1093/earlyj/xvi.3.407.

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Darie, Laurenţiu. "German Musical Baroque, a mini European Union avant la lettre: the bassoon concerto." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 187–95. http://dx.doi.org/10.2478/ajm-2021-0010.

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Abstract The German musical Baroque represents a sum of stylistic diversities, in which the European cultural values were merged with the national ones, resulting in a strongly individualized, but malleable style. The works dedicated to the bassoon by German composers are living evidence of aesthetic unity in the Baroque stylistic diversity, emphasizing the universality of music and its cohesive force. The analyzed concertos approach the aesthetics of each composer, through his relationship with Italian and French music, personalized in an expressive form of the German type: robust, in a clear, dynamic solid structure.

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SAMOILĂ, Irina Elena. "“Pastorale” by Naji Hakim – A Stylistic Approach." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 155–64. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.15.

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In the musical field, Lebanese composers represent a living proof of a different approach to cult music, a symbiosis between tradition and avant-garde, between modern and oriental elements, folk music with melisma typical of traditional Lebanese music and western classical music of French inspiration. (this is due to the specialized studies carried out in France and here I would mention the Francophone contribution underlying the institutionalization of education in Lebanon). The privilege of performing Pastorale for bassoon solo by Naji Hakim, a work that was dedicated to me by the author and was experienced to its final sound value, gave me unforgettable moments from an interpretative point of view and a special honor to participate in such a collaboration.

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Teng, Haifeng. "The Application of Arch Structural Thinking in Walter Piston’s Three Pieces for Flute, Clarinet, and Bassoon." Yixin Publisher 1, no. 1 (March 31, 2024): 35–44. http://dx.doi.org/10.59825/jet.2024.1.1.35.

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Arch-like structures are common in both the natural world and human society, representing a classical mechanical framework. Many twentieth-century composers utilized this structure to compose music, aiming to achieve a certain level of control over the music. Walter Piston, a prolific composer, used arch structural thinking in many works, taking it as an integral part of both the overall structure and structural force.

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Skei, Allen B., and John Heiss. "Eloquy; For Flute, Oboe, Clarinet and Bassoon." Notes 41, no. 4 (June 1985): 786. http://dx.doi.org/10.2307/940888.

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Göncz, Zoltán. "In search of the lost parts of Bach’s cantata Singet dem Herrn ein neues Lied (bwv190)." Early Music 47, no. 4 (November 2019): 515–32. http://dx.doi.org/10.1093/em/caz068.

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Abstract The surviving manuscript score of Bach’s first cantata for New Year’s Day in Leipzig (bwv190) does not contain the first two movements of the composition; only the choral parts and the two violin parts have survived. The parts for the three trumpets, timpani, three oboes, bassoon, viola and continuo are all lost. What is left is so incomplete and the loss of information so dramatic that we might think a performance of the first movement would be out of the question. This article appraises previous scholarly reconstructions of the movement and introduces the author’s own reconstruction, which is published in full in an online appendix. In the process of reconstruction, many insights arise into Bach’s compositional technique for large-scale choral movements and his preferred instrumentation.

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Whittall, Arnold. "‘INTO THE BREACH’: OLIVER KNUSSEN IN HIS TIME." Tempo 67, no. 265 (July 2013): 16–27. http://dx.doi.org/10.1017/s0040298213000430.

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AbstractIn 2002 Elliott Carter marked Oliver Knussen's fiftieth birthday with a short piece –Au Quai– for viola and bassoon, accompanied by the following comments: ‘As modernism seemed headed for shipwreck, Olly Knussen, treasuring the wonderful works that that movement produced and still does, stepped into the breach and … not only brought these works to a vivid enthusiastic life which has long been concealed, but also added significant works of his own’. Knussen's time has clearly been Carter's time too. Yet placing aspects of Knussen's compositional thinking into an American context can highlight the kind of distinctive qualities that, while leading less sympathetic British critics to write of an ‘aesthetic of avoidance’, might be more usefully interpreted as an intensely personal response to European as well as American modernism in all their various phases.

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Schreiner, Martin, Arthur Berger, Martin Boykan, and David Rakowski. "Quintet for Woodwinds (Flute, Oboe, Clarinet, Horn, and Bassoon)." Notes 56, no. 2 (December 1999): 503. http://dx.doi.org/10.2307/900054.

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Sogg, David. "Bassoon Reed Making: A Pedagogic History by Christin Schillinger." Notes 74, no. 3 (2018): 448–51. http://dx.doi.org/10.1353/not.2018.0018.

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Tierney, Adam, and Nina Kraus. "Neural Entrainment to the Rhythmic Structure of Music." Journal of Cognitive Neuroscience 27, no. 2 (February 2015): 400–408. http://dx.doi.org/10.1162/jocn_a_00704.

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The neural resonance theory of musical meter explains musical beat tracking as the result of entrainment of neural oscillations to the beat frequency and its higher harmonics. This theory has gained empirical support from experiments using simple, abstract stimuli. However, to date there has been no empirical evidence for a role of neural entrainment in the perception of the beat of ecologically valid music. Here we presented participants with a single pop song with a superimposed bassoon sound. This stimulus was either lined up with the beat of the music or shifted away from the beat by 25% of the average interbeat interval. Both conditions elicited a neural response at the beat frequency. However, although the on-the-beat condition elicited a clear response at the first harmonic of the beat, this frequency was absent in the neural response to the off-the-beat condition. These results support a role for neural entrainment in tracking the metrical structure of real music and show that neural meter tracking can be disrupted by the presentation of contradictory rhythmic cues.

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Dahl, Sofia, and Anders Friberg. "Visual Perception of Expressiveness in Musicians' Body Movements." Music Perception 24, no. 5 (June 1, 2007): 433–54. http://dx.doi.org/10.1525/mp.2007.24.5.433.

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MUSICIANS OFTEN MAKE GESTURES and move their bodies expressing a musical intention. In order to explore to what extent emotional intentions can be conveyed through musicians' movements, participants watched and rated silent video clips of musicians performing the emotional intentions Happy, Sad, Angry, and Fearful. In the first experiment participants rated emotional expression and movement character of marimba performances. The results showed that the intentions Happiness, Sadness, and Anger were well communicated, whereas Fear was not. Showing selected parts of the player only slightly influenced the identification of the intended emotion. In the second experiment participants rated the same emotional intentions and movement character for performances on bassoon and soprano saxophone. The ratings from the second experiment confirmed that Fear was not communicated whereas Happiness, Sadness, and Anger were recognized. The rated movement cues were similar in the two experiments and were analogous to their audio counterpart in music performance.

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Burns, Michael. "The Bassoon Reed Manual: Lou Skinner's Theories and Techniques (review)." Notes 58, no. 4 (2002): 850–51. http://dx.doi.org/10.1353/not.2002.0062.

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Blezzard, Judith. "Richard Strauss A Cappella." Tempo, no. 176 (March 1991): 21–28. http://dx.doi.org/10.1017/s004029820001305x.

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Recently there has been a revival of interest in the music of Richard Strauss, and in Britain more attention has been paid to his lesser-known works. The symphonic poems such as Don Juan and Till Eulenspiegel, along with operas such as Salome, Etektra and Der Rosmkavalier, have never lapsed from the performance and recording repertoires. But the undeserved neglect of pieces such as the Duett-Concertino for clarinet and bassoon, and operas that rarely reach the stage in this country, such as Die Frau ohne Schatten, has begun to be remedied. A new development which can be seen as both cause and effect of this revival is the appearance of books in English dealing with Strauss and his music. These include recent reissues of Norman del Mar's three-volume Richard Strauss: a Critical Commentary on his Life and Works (1962–72, reprinted with corrections 1978) and Michael Kennedy's Master Musicians volume reissued with additional material in 1988. The study by Willi Schuh, whom Strauss chose as his biographer, was issued in 1982 in an English translation by Mary Whittall entitled Richard Strauss: a Chronicle of the Early Years.

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Miksza, Peter, and Leonard Tan. "Predicting Collegiate Wind Players’ Practice Efficiency, Flow, and Self-Efficacy for Self-Regulation." Journal of Research in Music Education 63, no. 2 (July 2015): 162–79. http://dx.doi.org/10.1177/0022429415583474.

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The purpose of this study was to determine whether students’ practice efficiency, flow during practicing, and self-efficacy for self-regulation varied as a function of their practice tendencies, their tendencies toward self-evaluation, their self-regulatory tendencies to be self-reflective when practicing, tendencies to exhibit grit in their learning, and their teachers’ methods of instruction in practicing. Participants were 52 studio lesson teachers and 241 of their students from 25 large collegiate music programs in the United States. Both the teachers and students represented a diverse range of instruments: flute, oboe, bassoon, clarinet, saxophone, French horn, trumpet, trombone, euphonium, and tuba. The data for this study were self-reports collected via online questionnaires. Findings indicated that of the five predictor variables examined, only two—students’ tendencies to exhibit grit in their learning and their tendencies to be reflective about their practicing—were consistently related to the three outcome variables. Furthermore, all outcome variables were significantly related to one another.

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Conway, Paul. "London, Sinfonietta and Spitalfields: new works by Judith Weir." Tempo 58, no. 230 (October 2004): 56. http://dx.doi.org/10.1017/s0040298204230315.

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Judith Weir's Tiger under the Table, premièred by the London Sinfonietta under Thomas Adès in March 2003, is a reference to an exceptional energy in the lower registers, exemplified by an angry bassoon and twanging double bass. The gruff and dark-hued emphasis on the bass line in the opening section is in stark contrast to the typically bright and shiny ‘Judith Weir sound’ as exemplified by Moon and Star and the Piano Concerto, for example. The feeling of an underground upheaval recalls, rather, the ominous stringed-instrument slapping from the fifth movement of Weir's We Are Shadows. A heavenly string quartet offers repose: as in Vaughan Williams's Tallis Fantasia, it operates on a different plane from the rest of the ensemble. There ensues a quick parade of trios and quartets made up of unlikely combinations, including an ill-fated attempt to form a piano concerto. Finally, all 14 players join together and the composer truly becomes herself again in a witty and jazzy coda of prodigious invention. The pointillism here is engagingly full of heart. Glissandi threaten to destabilie the structure, but the work ends optimistically, with a warm unison.

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Prodan, James, Jesse A. Read, Johann Melchior Molter, and Charles Sherman. "Music from the Court of the Sun King; For 2 Oboes, Cor Anglais, and Bassoon." Notes 42, no. 1 (September 1985): 161. http://dx.doi.org/10.2307/898276.

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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.

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Purser, David. "Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires." British Journal of Music Education 22, no. 3 (October 21, 2005): 287–98. http://dx.doi.org/10.1017/s0265051705006546.

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This article was motivated by a staff development session when the brass faculty of a conservatoire were invited to share and discuss their approaches to teaching. It presents the results of interviews with six well known woodwind or brass players who have also taught at one or more conservatoires in London for periods of between one and 40 years. All are male. The six instruments represented are: trumpet, horn, trombone, flute, clarinet and bassoon. While there were commonalities in the approach of teachers, marked differences also emerged. Although some of these may reflect the particular demands of the instrument on which a teacher specialises, and the ease with which accomplished students of that instrument may be recruited to conservatoires, there also appear to be substantial differences in the individual approach of teachers. The findings raise the issue of whether it may be appropriate to provide some training for instrumental teachers at conservatoire level; surely one way of making the pool of accumulated wisdom more readily available, to prospective teachers and to the research community.

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39

Sachs, Joel, Henry Cowell, and Yvar Mikhashoff. "A Composition for Piano and Chamber Ensemble (Oboe, Clarinet, Bassoon, Violins, Viola, Cello)." Notes 46, no. 4 (June 1990): 1072. http://dx.doi.org/10.2307/941286.

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40

Weait, Christopher, Andrzej Panufnik, and Daniel Dorff. "Concerto for Bassoon and Small Orchestra [Flute, 2 Clarinets in B-Flat, Strings]." Notes 51, no. 3 (March 1995): 1141. http://dx.doi.org/10.2307/899346.

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41

Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.

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42

Schwartz, Elliott, Earle Brown, and Morton Feldman. "Centering; For Solo Violin, Flute, Clarinet, Bassoon, Horn, Trumpet, Trombone, Piano, Violin, Viola, Cello." Notes 44, no. 3 (March 1988): 596. http://dx.doi.org/10.2307/941563.

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43

Ivanova, Ekaterina V., and Maksim A. Kharin. "A Vocal Cycle for Mezzo-Soprano, Bassoon and Piano “The Fragments” by Elisavieta Panchecko Set to Poems by Anna Akhmatova." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2017): 121–27. http://dx.doi.org/10.17674/1997-0854.2017.1.121-127.

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44

Fedorkiv, Yurii. "FORMATION OF SKILLS OF ARTISTIC AND PERFORMANCE THINKING IN FUTURE TEACHERS OF MUSIC ART (INSTRUMENTAL CLASS OF BASSOON)." Knowledge, Education, Law, Management 2, no. 2 (2021): 21–27. http://dx.doi.org/10.51647/kelm.2021.2.2.4.

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45

Glivinsky, Valery. "The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 26–37. http://dx.doi.org/10.31318/2522-4190.2022.135.270995.

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Abstract:

In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. Morphological analysis takes sound construction as its main target. This makes possible a more flexible approach to analyzing a musical text. The morpheme, one of the cornerstones of morphological analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s The Rite of Spring is based on a step-by-step approach to an externally existing object, permitting us to perceive (see or hear) its details. The object itself is polymorphic, i.e., like an embryo, it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting French horn voice, can be defined as a forest seen in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet are the base from which the form of the “Introduction” is developed.

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46

Rickards, Guy. "SKALKOTTAS: 36 Greek Dances (with alternative versions of Nos. II/8–9 & III/6); The Return of Ulysses. BBC Symphony Orchestra c. Nikos Christodoulou. BIS-CD-1333/1334. SKALKOTTAS: Concerto for 2 violins1–3; Quartet for oboe, trumpet, bassoon & piano2,4–6; Concertino for oboe & piano2,4; Concertino for trumpet & piano2,5; Tango and Fox-trot for oboe, trumpet, bassoon & piano2,4–6; Sonata Concertante for bassoon & piano2,6. 1Eiichi Chijiiwa, Nina Zymbalist (vlns), 2Nikolaos Samaltanos (pno), 3Christophe Sirodeau (pno), 4Alexeï Ogrintchouk (ob), 5Eric Aubier (tpt), 6Marc Trenel (bsn). BIS-CD-1244." Tempo 58, no. 227 (January 2004): 78–80. http://dx.doi.org/10.1017/s0040298204300069.

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47

Carbon, John, Dennis Riley, and Marilyn Hacker. "Five Poems of Marilyn Hacker, Soprano and Chamber Ensemble [Flute, Oboe, Bassoon, Harpsichord, Percussion, Violin, Viola, Violoncello] (1986)." Notes 48, no. 1 (September 1991): 304. http://dx.doi.org/10.2307/941847.

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48

Glivinsky, Valery V. "The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music." Problemy Muzykal'noj Nauki / Music Scholarship, no. 4 (2022): 110–26. http://dx.doi.org/10.56620/2782-3598.2022.4.110-126.

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Abstract:

In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. This paves the way for a more flexible approach towards analyzing a musical text. The morpheme, one of the cornerstones of morphological analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. One bright example of the depth and rapidity of morphic transformations in Tchaikovsky’s music is the finale of his First Piano Concerto. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s The Rite of Spring is based on a step-by-step approach to an externally existing object, making it possible for us to perceive (see or hear) its details. The object itself is polymorphic, i.e., similar to an embryo; it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting line of the horn, can be defined as a forest viewed in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet provide the base from which the form of the “Introduction” is developed.

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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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50

Ewell, Terry B. "Music of Bernard H. Garfield. John Clouser, bassoon; Elizabeth DeMio, piano; Ellen dePasquale, violin; Stanley Konopka, viola; Richard Weiss, violoncello; Michael Hope, baritone; Julia Lockhart, piano. Azica Records ACD-71254, 2010." Journal of the Society for American Music 5, no. 1 (January 21, 2011): 134–36. http://dx.doi.org/10.1017/s175219631000060x.

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Journal articles on the topic 'Bassoon music'

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