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Dissertations / Theses on the topic 'Bassoon'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

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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2

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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3

White, Paul James. "The early bassoon reed in the development of the bassoon from 1636." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385785.

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4

Grothe, Timo. "Experimental Investigations of Bassoon Acoustics." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-150193.

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The bassoon is a conical woodwind instrument blown with a double-reed mouthpiece. The sound is generated by the periodic oscillation of the mouthpiece which excites the air column. The fundamental frequency of this oscillation is determined to a large extent by the resonances of the air column. These can be varied by opening or closing tone-holes. For any given tone hole setting a fine-tuning in pitch is necessary during playing. Musicians adjust the slit opening of the double-reed by pressing their lips against the opposing reed blades. These so-called embouchure corrections are required to tune the pitch, loudness and sound color of single notes. They may be tedious, especially if successive notes require inverse corrections. However, such corrections are essential: Due to the very high frequency sensitivity of the human ear playing in tune is the paramount requirement when playing music. This implies, that embouchure actions provide an important insight into a subjective quality assessment of reed wind instruments from the viewpoint of the musician: An instrument requiring only small corrections will be comfortable to play. Theoretical investigations of the whole system of resonator, reed, and musician by use of a physical model nowadays still seem insufficient with respect to the required precision. Therefore the path of well-described artificial mouth measurements has been chosen here. For the separate treatment of the resonator and the double-reed, existing classical models have been used. Modifications to these models are suggested and verified experimentally. The influence of the musician is incorporated by the lip force-dependent initial reed slit height. For this investigation a measurement setup has been built that allows precise adjustment of lip force during playing. With measurements of the artificial mouth parameters blowing pressure, mouthpiece pressure, volume-flow rate and axial lip position on reed, the experiment is fully described for a given resonator setting represented by an input impedance curve. By use of the suggested empirical model the adjustment parameters can be turned into model parameters. A large data set from blowing experiments covering the full tonal and dynamical range on five modern German bassoons of different make is given and interpreted. The experimental data presented with this work can be a basis for extending the knowledge and understanding of the interaction of instrument, mouthpiece and player. On the one hand, they provide an objective insight into tuning aspects of the studied bassoons. On the other hand the experiments define working points of the coupled system by means of quasi-static model parameters. These may be useful to validate dynamical physical models in further studies. The experimental data provide an important prerequisite for scientific proposals of optimizations of the bassoon and other reed wind instruments. It can further serve as a fundament for the interdisciplinary communication between musicians, musical instrument makers and scientists.

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5

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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6

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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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

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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9

Brusky, Paula. "Performance Related Musculoskeletal Disorders in Bassoon Players." Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5136.

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Performance related musculoskeletal disorders (PRMDs) are a frequent reality for practicing musicians. Many aspects of the bassoon make bassoon players particularly susceptible to PRMDs. This thesis explored the prevalence of PRMDs among bassoon players and assessed the frequency, types, and locations of PRMDs. Also identified were treatments used for PRMDs, contributing factors to PRMD development, and the perceptions of the bassoon community regarding PRMDs. The International Bassoonist Questionnaire was distributed via the World Wide Web (n = 166, 58% male, 42% female). Eighty-six percent of bassoon players reported PRMDs. Pain was the most common PRMD symptom reported (78%). Females reported PRMDs (96%) more frequently than males (78%). Younger bassoon players reported more PRMDs. Most bassoon players (88%) were attempting to treat their PRMDs. The most common self-administered treatments were rest (60%) and reducing playing time (53%). Bassoonists attributed the cause of PRMDs to “long hours of practice” and “sudden increase in playing time.” Bassoon players felt strongly that the medical profession did not know how to treat a bassoon related injury. They believed that a knowledgeable teacher was the best resource against the onset of PRMDs even though technical aspects of playing were not identified as significant contributors to PRMDs. The bassoon playing population needs more information about PRMDs in order to develop treatment and prevention strategies.

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10

Brusky, Paula. "Performance Related Musculoskeletal Disorders in Bassoon Players." University of Sydney, 2009. http://hdl.handle.net/2123/5136.

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PhD in Performance
Performance related musculoskeletal disorders (PRMDs) are a frequent reality for practicing musicians. Many aspects of the bassoon make bassoon players particularly susceptible to PRMDs. This thesis explored the prevalence of PRMDs among bassoon players and assessed the frequency, types, and locations of PRMDs. Also identified were treatments used for PRMDs, contributing factors to PRMD development, and the perceptions of the bassoon community regarding PRMDs. The International Bassoonist Questionnaire was distributed via the World Wide Web (n = 166, 58% male, 42% female). Eighty-six percent of bassoon players reported PRMDs. Pain was the most common PRMD symptom reported (78%). Females reported PRMDs (96%) more frequently than males (78%). Younger bassoon players reported more PRMDs. Most bassoon players (88%) were attempting to treat their PRMDs. The most common self-administered treatments were rest (60%) and reducing playing time (53%). Bassoonists attributed the cause of PRMDs to “long hours of practice” and “sudden increase in playing time.” Bassoon players felt strongly that the medical profession did not know how to treat a bassoon related injury. They believed that a knowledgeable teacher was the best resource against the onset of PRMDs even though technical aspects of playing were not identified as significant contributors to PRMDs. The bassoon playing population needs more information about PRMDs in order to develop treatment and prevention strategies.

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11

Stomberg, Eric. "The bassoon sonatas of victor Bruns an analytical and performance perspective (with an annotated bibliography of works for bassoon) /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085628883.

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12

Galloway, David John. "The playing characteristics of American trombones and German-system bassoons." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1004508.

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Preface: South Africa, a country renowned for its mineral wealth has, perhaps manufacturing paradoxically, no musical wind instrument industry of its own as yet. Thus performers, educators and students alike have either to travel to Europe or America to select an instrument, or to import an expensive instrument that may be both unseen and untried, as very few musical instrument dealers are prepared to outlay capital on stock which appeals to a decided minority of their potential customers. Alternately, a purchase of a particular make or model can be made on the basis of a hearsay opinion; at best, the opportunity for first-hand assessment is minimal. It is the trombone of U. S.A. manufacture and the German bassoon which represent the current state of their respective manufacturing arts, and the yardsticks by which their many imitator's efforts are measured. One of the main aims of this Thesis is to describe in objective terms what has been experienced subjectively over the years of involvement with these instruments -- arguably a task similar to that of the art critic, but operating within more positively defined parameters namely, what works for the student and professional. , and what doesn't. The candidate claims credit for introducing the large-bore Bb/F trombone to South Africa in 1961, following with the introduction of the ·first double-valve bass trombone in 1965, and the first in 1979. The first Schreiber bassoons The advantages and trombone and other bassoon and other such instrument with in-line rotors of the new 5000 series larger-bore was likewise introduced in 1981. pitfalls of " doubling" between the wind instruments , and between the winds, are disc ussed at length in the final section of the Thesis.

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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

Dart, Mathew. "The baroque bassoon : form, construction, acoustics, and playing qualities." Thesis, London Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542795.

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21

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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22

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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23

Gould, Alannah. "The bassoon at the time of Carl Maria von Weber /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16523.pdf.

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24

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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25

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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26

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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27

Mayer, Lisa, and Lisa Mayer. "History and Performance of the Siciliana Dance Style for the Bassoon." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625088.

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The siciliana is a dance style that has been used in a wide variety of musical contexts, from simple woodwind duets to classical symphonies. Its origins and history are somewhat vague and complex, but can be traced through the works of composers from the 1600s to modern times. Considering the history of these works provides valuable insight for the performer and musical scholar, giving context to the pieces being prepared and aiding in accurate representation of the composers’ true intentions. The ancient ancestors of the siciliana, folk music of southern Italy, gave rise to a style used to evoke images of the simple pastoral throughout the baroque, classical, romantic, and modern eras. Though it had humble origins, the siciliana rose to great significance and popularity during the baroque era. Classical composers took this tradition and modified it for their own purposes, straying slightly from the baroque traditions of sound, instrumentation, and use. The romantic era produced siciliana that were even further from their roots, adding new harmonies and significance in new types of works.

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28

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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29

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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30

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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31

Annamneedi, Anil [Verfasser]. "Functions of Bassoon in hippocampus-dependent learning and memory processes / Anil Annamneedi." Magdeburg : Universitätsbibliothek, 2018. http://d-nb.info/1154485641/34.

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32

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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33

Lanore, Frédéric. "Maturation morpho-fonctionnelle de la synapse fibre moussue/cellule pyramidale de CA3 dans l’hippocampe." Thesis, Bordeaux 2, 2010. http://www.theses.fr/2010BOR21734/document.

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Les synapses se forment selon plusieurs étapes comprenant la stabilisation des contacts nouvellement formés et leur maturation. Ces différentes étapes dépendent d’une mise en place coordonnée entre la terminaison pré- et postsynaptique. Les protéines composant la présynapse et les récepteurs ionotropiques du glutamate ont des rôles clés dans ces processus. Lors de ma thèse, je me suis intéressé à l’implication de la protéine présynaptique Bassoon lors de la maturation des synapses glutamatergiques entre les fibres moussues et les cellules pyramidales de CA3 dans l’hippocampe. Cette synapse constitue un modèle attractif pour l’étude de la maturation synaptique car elle suit des étapes de maturation morphologique et fonctionnelle bien définies. Bassoon est une des premières protéines se mettant en place au niveau des contacts synaptiques nouvellement formés. Par des approches électrophysiologiques, nous avons montré que la protéine Bassoon était importante pour l’organisation du site de libération de neurotransmetteur durant les deux premières semaines de vie post-natale chez la souris.Les récepteurs kaïnate jouent un rôle important dans la régulation de l’activité de réseau au cours du développement post-natal. Cependant l’impact de l’activation de ces récepteurs sur la maturation synaptique est peu connu. J’ai pu mettre en évidence un délai dans la maturation fonctionnelle de la synapse fibre moussue/cellule pyramidale de CA3 chez les souris déficientes pour la sous-unité GluK2 des récepteurs kaïnate (GluK2-/-). Afin de comprendre si ce délai de maturation fonctionnelle est corrélé à un retard dans la maturation morphologique de cette synapse, nous avons mis en place des infections de lentivirus codant pour une protéine membranaire fluorescente (YFP) chez le souriceau nouveau-né (P1-P2). A l’aide de microscopie confocale et de reconstruction en 3D, nous avons ainsi pu décrire la maturation morphologique de la synapse fibre moussue/cellule pyramidale de CA3. Cela m’a également permis de corréler la maturation fonctionnelle à la maturation morphologique et mes résultats montrent également un retard dans la mise en place des synapses chez les souris GluK2-/-. L’ensemble de cette étude révèle l’importance de l’activité synaptique et de la coordination entre mise en place de la pré- et de la postsynapse au cours de la maturation synaptique
The formation of synapses follows different steps including synaptogenesis and maturation. These different steps depend on coordinated pre- and post-synaptic assembly. Pre-synaptic proteins and ionotropic glutamate receptors play a central role in these processes. During my thesis, I have been interested in the implication of the presynaptic protein Bassoon in the maturation of the hippocampal mossy fiber to CA3 pyramidal cell glutamatergic synapses. This synapse constitutes an attractive model for the study of synaptic maturation because it follows several steps of defined morphological and functional maturation. Bassoon in one of the first protein present at newly formed synaptic contacts. By electrophysiological approaches, we showed that Bassoon is important for the organization of the active zone during the first two postnatal weeks.Kainate receptors play an important role in the regulation of network activity during postnatal development. However, the impact of kainate receptors activation on synaptic maturation is less known. I showed a delay in functional maturation of mossy fiber synapses in mice deficient for the GluK2 subunit of kainate receptors (GluK2-/-). To know if this delay is correlated to morphological alterations of this synapse, we setup in vivo lentiviral infections of membrane fluorescent protein (YFP) in mouse pups (P1-P2). Using confocal microscopy and 3D reconstruction, we described the morphological maturation of mossy fiber synapses. We were able to correlate functional and morphological maturation and our results also showed an impairment in the formation of mossy fiber synapses in GluK2-/-. Together, these data reveal the importance of synaptic activity and of the coordination of pre- and post-synaptic assembly during synaptic maturation

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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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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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Zuniga, Chanto Fernando. "Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op. 26, by Ludwig Milde." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145124.

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This document demonstrates that study and performance of newly-composed versions of four etudes from Ludwig Milde's Concert Etudes, Op. 26 (publ. post. 1935) can prepare advanced bassoon students for performance of not only the etudes themselves (which includes advanced techniques such as rapid single tonguing, double tonguing, difficult slurring, tapering, an execution of complicated scales and arpeggios in the context of a musical passage, half-hole, vibrato, flicking, and control of long notes in extreme registers), but also can be used to address both performing and technical issues not covered in Milde's study, such as the problems posed by ensemble playing, tone-color, and rhythm.The project analyzes a selection of four etudes from the Concert Etudes, Op. 26 in terms of harmony and form, explores the technical difficulties found in each one of them and their possible approaches, and provides arrangements for two bassoons, bassoon and piano, and bassoon quartet, giving the student a new palette of options for the study of the Concert Etudes, Op. 26 and new devices for the improvement of various techniques.

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Renteria, Lisa M. "The Bassoon's Essential Role in the Evolution of the Wind Octet: The Serenade in Eb Major K. 375 by Mozart and the Octet for Winds by Stravinsky." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194443.

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The purpose of this study is in one part to observe the evolution of the wind octet genre and another to research the evolution of the bassoon's role in this ensemble. Specifically the essential role of the two bassoons are revealed by showing that they are the only pair of instruments that remain intact in the wind octet ensemble from the time of Mozart to the time of Stravinsky. Because of this, they provide the wind octet it's characteristic sound. To illustrate these points, two significant wind octets were examined in detail: The Serenade in Eb, K. 375 (1782) by Mozart and the Octet for Winds (1923/revised 1952) by Stravinsky. Despite the long time span between these two works, and the obvious changes in instrumentation, the Octet for Winds by Stravinsky could be called an evolved version of the earlier traditional wind octet. The research within illustrates how the writing for the bassoons changed and stayed the same as related to range, articulation, technical demands, interaction and blending, idiomatic features and role between the years of 1782 and 1923. Other octets that fall between these dates were examined to demonstrate this evolution. Also, in order to have a better understanding of the Serenade by Mozart and Octet for winds by Stravinsky, their symphonic works were analyzed to determine how each composer wrote for the bassoon in other genres and this is compared to the use of the bassoon in their octets.

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Intravaia, Paul Joseph. "Cycling." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1509.

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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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Overgaard, David. "Bassoon recital." Thesis, 1993. http://hdl.handle.net/2429/1941.

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Lapierda, Sanmartin Jose Lorenzo. "Bassoon recitals." Thesis, 1994. http://hdl.handle.net/2429/5214.

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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2010. http://hdl.handle.net/2152/15888.

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Zepp, Jonathan. "Master's thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16612.

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Concerto for bassoon in F major, op. 75 / Carl Maria von Weber -- Sonatine / Alexandre Tansman -- Autumn leaves / Johnny Mercer -- Pent-up house / Sonny Rollins -- Concerto in F major, RV 485 / Antonio Vivaldi -- Three Botticelli pictures / Ottorino Respighi.
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Tran, Toan. "Master's thesis recital (bassoon)." Thesis, 2014. http://hdl.handle.net/2152/24463.

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Concerto for bassoon and orchestra, op.75 / Carl Maria von Weber -- Concerto in E minor / Antonio Vivaldi -- Parable for solo bassoon / Vincent Persichetti -- Concerto in B-flat major / Wolfgang Amadeus Mozart.
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Collette, Kelly C. "Doctoral thesis recital (bassoon)." 2010. http://hdl.handle.net/2152/11438.

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

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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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Miller, Laura A. "Master's thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16423.

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Concerto in D minor, RV 481 / Antonio Vivaldi -- Parable for solo bassoon, op. 110 / Vincent Persichetti -- Suite concertino in F major, op. 16 / Ermanno Wolf-Ferrari -- Recit et allegro pour basson et piano / Noel-Gallon -- Trio pour piano, hautbois, et basson / Francis Poulenc.
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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16988.

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Miller, Laura A. "Master's Thesis Recital (bassoon)." 2012. http://hdl.handle.net/2152/19431.

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Sonate in C-Dur for Fagott and Basso continuo / Johann Friedrich Fasch -- BassoonMusic for bassoon solo / George Perle -- Prelude et scherzo pour basson et piano / Paul Jeanjean -- Kvintet for flojte, obo, klarinet, horn og fagot, op.43 / Carl August Nielsen.
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Tang, Shih-Min. "Doctoral thesis recital (bassoon)." Thesis, 2014. http://hdl.handle.net/2152/24478.

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