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Journal articles on the topic 'Bassoon'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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1

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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2

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

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3

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

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4

Waldman, Ken. "Bassoon." Massachusetts Review 57, no. 4 (2016): 716. http://dx.doi.org/10.1353/mar.2016.0115.

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5

Fejtova, Anna, Daria Davydova, Ferdinand Bischof, Vesna Lazarevic, Wilko D. Altrock, Stefano Romorini, Cornelia Schöne, et al. "Dynein light chain regulates axonal trafficking and synaptic levels of Bassoon." Journal of Cell Biology 185, no. 2 (April 20, 2009): 341–55. http://dx.doi.org/10.1083/jcb.200807155.

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Bassoon and the related protein Piccolo are core components of the presynaptic cytomatrix at the active zone of neurotransmitter release. They are transported on Golgi-derived membranous organelles, called Piccolo-Bassoon transport vesicles (PTVs), from the neuronal soma to distal axonal locations, where they participate in assembling new synapses. Despite their net anterograde transport, PTVs move in both directions within the axon. How PTVs are linked to retrograde motors and the functional significance of their bidirectional transport are unclear. In this study, we report the direct interaction of Bassoon with dynein light chains (DLCs) DLC1 and DLC2, which potentially link PTVs to dynein and myosin V motor complexes. We demonstrate that Bassoon functions as a cargo adapter for retrograde transport and that disruption of the Bassoon–DLC interactions leads to impaired trafficking of Bassoon in neurons and affects the distribution of Bassoon and Piccolo among synapses. These findings reveal a novel function for Bassoon in trafficking and synaptic delivery of active zone material.
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6

Taran, Vladimir. "CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU." Akademos 60, no. 1 (June 2021): 134–36. http://dx.doi.org/10.52673/18570461.21.1-60.18.

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Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations componentistic concerned.
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7

Dieck, Susannetom, Lydia Sanmartí-Vila, Kristina Langnaese, Karin Richter, Stefan Kindler, Antje Soyke, Heike Wex, et al. "Bassoon, a Novel Zinc-finger CAG/Glutamine-repeat Protein Selectively Localized at the Active Zone of Presynaptic Nerve Terminals." Journal of Cell Biology 142, no. 2 (July 27, 1998): 499–509. http://dx.doi.org/10.1083/jcb.142.2.499.

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The molecular architecture of the cytomatrix of presynaptic nerve terminals is poorly understood. Here we show that Bassoon, a novel protein of >400,000 Mr, is a new component of the presynaptic cytoskeleton. The murine bassoon gene maps to chromosome 9F. A comparison with the corresponding rat cDNA identified 10 exons within its protein-coding region. The Bassoon protein is predicted to contain two double-zinc fingers, several coiled-coil domains, and a stretch of polyglutamines (24 and 11 residues in rat and mouse, respectively). In some human proteins, e.g., Huntingtin, abnormal amplification of such poly-glutamine regions causes late-onset neurodegeneration. Bassoon is highly enriched in synaptic protein preparations. In cultured hippocampal neurons, Bassoon colocalizes with the synaptic vesicle protein synaptophysin and Piccolo, a presynaptic cytomatrix component. At the ultrastructural level, Bassoon is detected in axon terminals of hippocampal neurons where it is highly concentrated in the vicinity of the active zone. Immunogold labeling of synaptosomes revealed that Bassoon is associated with material interspersed between clear synaptic vesicles, and biochemical studies suggest a tight association with cytoskeletal structures. These data indicate that Bassoon is a strong candidate to be involved in cytomatrix organization at the site of neurotransmitter release.
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8

Brusky, Paula. "The High Prevalence of Injury Among Female Bassoonists." Medical Problems of Performing Artists 25, no. 3 (September 1, 2010): 120–25. http://dx.doi.org/10.21091/mppa.2010.3025.

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Performance-related musculoskeletal disorders (PRMDs) are a frequent reality for practicing musicians. Aspects of the bassoon, such as the weight of the instrument and the musician’s asymmetrical body position, make bassoon players particularly susceptible to PRMDs. The International Bassoonist Questionnaire was distributed via the world wide web (n = 166; 58% male, 42% female) to investigate PRMDs in bassoon players. Great differences between genders were documented in bassoon players; females (100%) reported PRMDs more frequently than males (78%). Female bassoonists were particularly susceptible to PRMDs in the hands, arms, and wrists.
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9

Takao-Rikitsu, Etsuko, Sumiko Mochida, Eiji Inoue, Maki Deguchi-Tawarada, Marie Inoue, Toshihisa Ohtsuka, and Yoshimi Takai. "Physical and functional interaction of the active zone proteins, CAST, RIM1, and Bassoon, in neurotransmitter release." Journal of Cell Biology 164, no. 2 (January 19, 2004): 301–11. http://dx.doi.org/10.1083/jcb.200307101.

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We have recently isolated a novel cytomatrix at the active zone (CAZ)–associated protein, CAST, and found it directly binds another CAZ protein RIM1 and indirectly binds Munc13-1 through RIM1; RIM1 and Munc13-1 directly bind to each other and are implicated in priming of synaptic vesicles. Here, we show that all the CAZ proteins thus far known form a large molecular complex in the brain, including CAST, RIM1, Munc13-1, Bassoon, and Piccolo. RIM1 and Bassoon directly bind to the COOH terminus and central region of CAST, respectively, forming a ternary complex. Piccolo, which is structurally related to Bassoon, also binds to the Bassoon-binding region of CAST. Moreover, the microinjected RIM1- or Bassoon-binding region of CAST impairs synaptic transmission in cultured superior cervical ganglion neurons. Furthermore, the CAST-binding domain of RIM1 or Bassoon also impairs synaptic transmission in the cultured neurons. These results indicate that CAST serves as a key component of the CAZ structure and is involved in neurotransmitter release by binding these CAZ proteins.
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10

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

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11

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

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12

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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13

Канина, О. В. "ABOUT THE STYLE OF THE SONATA FOR BASSOON (FLUTE) AND BASSO CONTINUO f-moll TWV 41:f1 G. F. TELEMANN." Music Journal of Northern Europe, no. 2(14) (July 2, 2018): 32–45. http://dx.doi.org/10.61908/2413-0486.2018.14.2.32-45.

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Статья посвящена выявлению индивидуальных стилевых черт в сонате для фагота (флейты) и basso continuo f-moll TWV 41:f1 Г. Ф. Телемана, одного из ярких представителей позднего барокко в музыкальном искусстве Германии. The article is devoted to the identification of individual style features in the Sonata for bassoon (flute) and basso continuo f-moll TWV 41:f1 G. F. Telemann, one of the prominent representatives of the late Baroque in the musical art of Germany.
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14

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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15

Brusky, Paula. "High Prevalence of Performance-related Musculoskeletal Disorders in Bassoon Players." Medical Problems of Performing Artists 24, no. 2 (June 1, 2009): 81–87. http://dx.doi.org/10.21091/mppa.2009.2017.

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Performance-related musculoskeletal disorders (PRMDs) are a frequent reality for practicing musicians. Many aspects of the bassoon make these players particularly susceptible to PRMDs, yet to date no study investigating PRMDs has been conducted solely in the bassoon community. The purpose of this study was to identify PRMD symptoms experienced among bassoon players, ascertain the most affected areas, and identify treatments used. Information was gathered using the International Bassoonist Questionnaire, a web-based survey designed by the author. Eighty-six percent of participants (n = 166) reported PRMDs. Pain was the most common PRMD symptom reported (78%). Thirty-one percent of bassoon players reported a medically diagnosed condition, with tendinitis being the most common diagnosis (54%). Bassoonists experienced multiple PRMD symptoms and reported numerous affected locations. PRMDs were most frequently reported in the arms and wrists (54%), and the left side had more PRMDs than the right side. Despite the number of treatment options available, bassoon players primarily used self-administered treatment, with only 31% consulting a medical doctor. Rest was the most common self-applied treatment (60%).
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16

Nechesnyi, Ihor. "Etienne Ozi – «a great bassonist of incredible talent»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 68, no. 68 (November 28, 2023): 33–53. http://dx.doi.org/10.34064/khnum1-68.02.

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Statement of the problem. Etienne Ozi stands out as a bassoonist due to his significant creative achievements in various spheres of his multifaceted activities. As a bassoonist soloist, he successfully debuted in the “Concerts Spirituels” and for more than two decades was actively performed in front of Parisians in the best halls of the capital. An equally significant achievement of Ozі as a teacher was the preparation of the first instructional manual for the specialists “Nouvelle méthode de basson adoptue par le Conservatoire” (1803), which remained the main official publication of the Paris Conservatory for many years. The composer’s work also became an important part of the bassoon repertoire, which was actively used by him and his students in performing and teaching activities. Despite the importance of E. Ozi’s contribution to all spheres of bassoon art, the artist’s multifaceted creative activity still has not been properly assessed by modern researchers and requires a more detailed study. Recent research and publications. Among the works of domestic scientists, there are hardly any publications dedicated to E. Ozi’s creative activity. An outstanding Ukrainian musician, teacher and scientist V. M. Apatsky (2017) in his fundamental reference publication «Bassoon from A to Z» covers only individual episodes of the musician’s biography. The figure of the French artist is considered more deeply by foreign researchers, among which it is necessary to single out the dissertation and monograph of H. E. Griswold «Etienne Ozi (1754–1813): Bassoonist, Teacher, and Composer» (1979), in which E. Ozi’s work is revealed in sufficient detail. However, over the forty-year period of its existence, a certain updating of historical materials took place, which requires clarification and correction of some facts. Among the latest publications, which in one way or another highlight E. Ozi’s work, it is worth mentioning O. Tiffou’s monograph «The French Bassoon in the 19th Century. Theory and Repertoire» (2022) and Á. D. Moreno’s thesis «Bassoon Playing in Perspective. Character and Performance Practice from 1800 to 1850» (2013). In each of the studies, the authors partly consider individual aspects of the musician’s creative work according to the chosen research direction. Objectives, methods, and novelty of the research. The purpose of the study is to identify the main directions of Etienne Ozi’s performance and his role in the process of formation of the French bassoon school of the late 18th – early 19th centuries. The scientific novelty of the paper is determined by disclosing little-known facts of E. Ozi’s performance and his contribution to the formation of the French bassoon school. The study of E. Ozi’s performance required the use of a number of methods, such as historical to reveal the ideological and socio-economic factors of influence of the French Revolution on the development of musical art; historiography analyses to study and interpret musical and critical sources of the 18th century, chronological one to determine the time sequence of E. Ozi’s main concert performances; contextual and biographical approaches to highlight important stages of the artist’s creative work. Research results. The process of becoming Ozi as a performer is related to military brass bands, which, due to the lack of special musical educational institutions in France in the 18th century, remained the only place, where it was possible to learn to play wind instruments. Then, successful bassoon lessons under the leadership of the outstanding German bassoonist G. V. Ritter opened him the door to the concert stage. From 1779, he became an active performer-soloist of the prestigious “Concerts Spirituels” in the royal palaces. After the French Revolution and the overthrow of the monarchy, E. Ozi continued a successful performing and teaching career in the Paris Conservatory, the orchestras of the Théâtre Italien, Théâtre Feydeau and Théâtre de la République et des Arts. An important achievement of the talented musician was a convincing victory in the competition of nominees for the post of soloist of the Grand Opéra Théâtre, which allowed him to take the most prestigious place for a bassoonist in France. Conclusion. E. Ozi is one of the first French musicians who presented the bassoon as a solo instrument and created a multi-genre concert repertoire for it. Regular performances at the most prestigious halls of Paris allowed him to confidently occupy a leading positions not only among the French, but also European bassoonists. Active performing activity of E. Ozi and his fruitful teaching practice at the Paris Conservatory had a crucial influence on the development of European bassoon art of the late 18th and early 19th centuries.
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17

Ernoult, Augustin, and Timo Grothe. "Experimental study of the effects of the long chimney of a closed tonehole on the sound of a bassoon." Journal of the Acoustical Society of America 153, no. 2 (February 2023): 1229–40. http://dx.doi.org/10.1121/10.0017318.

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The bassoon has side holes a few tens of millimeters long, much longer than in other woodwinds. When they are closed, the “quarter-wave” resonances of these “chimneys” create short circuits in parallel with the bore. At these resonance frequencies, near 2 kHz—within the sensitive range of hearing—it is expected that the waves will not propagate beyond the chimney, affecting both the input impedance and the radiated sound. Using parametric studies with varying chimney lengths, these effects on impedance and radiated sound are measured for a French bassoon and a simplified conical model instrument. The effects are clear on the model instrument, especially when several chimneys have equal length. For the bassoon, the passive filter effect remains, but its importance in the sound is blurred due to changes in the oscillation regime and in the directivity, as simulations confirmed. The effect is audible under laboratory conditions, but on the same order of magnitude as the spatial level variations due to the directivity. It is, therefore, unlikely that the difference in timbre between the French and the German bassoon is mainly due to longer tonehole chimneys.
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18

Kepin, Dmytro. "The bassoon as a monument of musical culture: source studies." Вісник Книжкової палати, no. 7 (July 28, 2022): 42–48. http://dx.doi.org/10.36273/2076-9555.2022.7(312).42-48.

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The article for the first time in Ukrainian historiography, museology and monumentology considers works of European fine art, where there is an image of a wind wooden musical instrument bassoon. Works of painting, graphics, works of monumental art (sculpture) are analyzed. This is a characteristic of the collections of bassoons in museums in Western Europe, the USA and Canada. Publications stored in the funds of the Vernadsky National Library of Ukraine, Yaroslav Mudryi National Library Of Ukraine, the National Historical Library of Ukraine, the National Scientific and Research Restoration Center of Ukraine were used. The expositions of the Bohdan and Varvara Khanenko National Museum of Arts (Kyiv), the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv), the State Yagotynsky Historical Museum (Yagotyn, Kyiv Region), as well as Internet resources of collections of wind instruments of a number of museums in Europe, the USA and Canada are analyzed. Materials from the personal archive and musical collection of the bassoonist, teacher in the class of wind musical instruments, soloist of orchestra V. Kepin (Kyiv) were involved. Based on the analysis, it was concluded that the Flemish artist Dеnis van Alsloot can be considered one of the first in European painting, which brought to our time the composition of wind musical instruments characteristic of the musical culture of Western Europe of the XVII century. In Ukraine, one of the oldest copies of the bassoon (1730s) is stored in the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv).
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19

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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20

Rycroft, David. "The 'Jancourt System' Bassoon." Galpin Society Journal 49 (March 1996): 276. http://dx.doi.org/10.2307/842434.

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21

White, Paul J. "Early Bassoon Fingering Charts." Galpin Society Journal 43 (March 1990): 68. http://dx.doi.org/10.2307/842479.

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22

Barber, Matthew. "Charles Wuorinen's Bassoon Variations." Perspectives of New Music 56, no. 2 (2018): 23–46. http://dx.doi.org/10.1353/pnm.2018.0010.

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23

White, Paul J., Gunther Joppig, and Alfred Clayton. "The Oboe and the Bassoon." Galpin Society Journal 45 (March 1992): 173. http://dx.doi.org/10.2307/842294.

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24

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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25

Backus, John. "Acoustical problem in the bassoon." Journal of the Acoustical Society of America 80, S1 (December 1986): S87. http://dx.doi.org/10.1121/1.2024015.

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26

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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27

Ohtsuka, Toshihisa, Etsuko Takao-Rikitsu, Eiji Inoue, Marie Inoue, Masakazu Takeuchi, Kaho Matsubara, Maki Deguchi-Tawarada, et al. "Cast." Journal of Cell Biology 158, no. 3 (August 5, 2002): 577–90. http://dx.doi.org/10.1083/jcb.200202083.

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The cytomatrix at the active zone (CAZ) has been implicated in defining the site of Ca2+-dependent exocytosis of neurotransmitter. We have identified here a novel CAZ protein of ∼120 kD from rat brain and named it CAST (CAZ-associated structural protein). CAST had no transmembrane segment, but had four coiled-coil domains and a putative COOH-terminal consensus motif for binding to PDZ domains. CAST was localized at the CAZ of conventional synapses of mouse brain. CAST bound directly RIM1 and indirectly Munc13-1, presumably through RIM1, forming a ternary complex. RIM1 and Munc13-1 are CAZ proteins implicated in Ca2+-dependent exocytosis of neurotansmitters. Bassoon, another CAZ protein, was also associated with this ternary complex. These results suggest that a network of protein–protein interactions among the CAZ proteins exists at the CAZ. At the early stages of synapse formation, CAST was expressed and partly colocalized with bassoon in the axon shaft and the growth cone. The vesicles immunoisolated by antibassoon antibody–coupled beads contained not only bassoon but also CAST and RIM1. These results suggest that these CAZ proteins are at least partly transported on the same vesicles during synapse formation.
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28

Darie, Laurențiu. "Stylistic features of Vivaldi’s bassoon concerti." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), no. 2 (January 15, 2021): 65–74. http://dx.doi.org/10.31926/but.pa.2020.13.62.2.7.

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29

Gillessen, Klaus. "Ring Keys on a French Bassoon." Galpin Society Journal 49 (March 1996): 274. http://dx.doi.org/10.2307/842433.

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30

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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31

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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Konkel, Frederic, Andre Jakob, Frank Heintze, and Michael Möser. "Active Sound Design of a Bassoon." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3663. http://dx.doi.org/10.1121/1.2934987.

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33

Ishibashi, Masahiro, and Tohru Idogawa. "Input impulse response of the bassoon." Journal of the Acoustical Society of Japan (E) 8, no. 4 (1987): 139–44. http://dx.doi.org/10.1250/ast.8.139.

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34

Okerlund, Nathan D., Katharina Schneider, Sergio Leal-Ortiz, Carolina Montenegro-Venegas, Sally A. Kim, Loren C. Garner, Clarissa L. Waites, Eckart D. Gundelfinger, Richard J. Reimer, and Craig C. Garner. "Bassoon Controls Presynaptic Autophagy through Atg5." Neuron 93, no. 4 (February 2017): 897–913. http://dx.doi.org/10.1016/j.neuron.2017.01.026.

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35

Okerlund, Nathan D., Katharina Schneider, Sergio Leal-Ortiz, Carolina Montenegro-Venegas, Sally A. Kim, Loren C. Garner, Clarissa L. Waites, Eckart D. Gundelfinger, Richard J. Reimer, and Craig C. Garner. "Bassoon Controls Presynaptic Autophagy through Atg5." Neuron 97, no. 3 (February 2018): 727. http://dx.doi.org/10.1016/j.neuron.2018.01.010.

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36

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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37

Jepsen, Jørgen R. "Posterior Interosseous Neuropathy in the Distal Radial Tunnel in a Contrabassoon Musician." Medical Problems of Performing Artists 29, no. 1 (March 1, 2014): 23–26. http://dx.doi.org/10.21091/mppa.2014.1006.

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OBJECTIVE: Bassoonists seem to have a high recorded prevalence of performance-related upper limb symptoms. Yet, the background for their symptoms has not been established. This study aimed to diagnose and treat the pathology that caused severe upper limb symptoms in a bassoon/contrabassoon musician in order to allow him to continue his professional career in a symphony orchestra. METHODS: A detailed neurological bedside examination was undertaken and targeted physiotherapy offered. RESULTS: The physical examination demonstrated weakness, atrophy, and nerve trunk soreness, indicating an affliction of the posterior interosseous nerve (radial tunnel syndrome) or its muscular branches. The risk factors during bassoon playing are comparable to those reported from industrial exposures. The patient was able to resume playing after treatment by nerve mobilisation.
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38

Annamneedi, Anil, Miguel del Angel, Eckart D. Gundelfinger, Oliver Stork, and Gürsel Çalışkan. "The Presynaptic Scaffold Protein Bassoon in Forebrain Excitatory Neurons Mediates Hippocampal Circuit Maturation: Potential Involvement of TrkB Signalling." International Journal of Molecular Sciences 22, no. 15 (July 26, 2021): 7944. http://dx.doi.org/10.3390/ijms22157944.

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A presynaptic active zone organizer protein Bassoon orchestrates numerous important functions at the presynaptic active zone. We previously showed that the absence of Bassoon exclusively in forebrain glutamatergic presynapses (BsnEmx1cKO) in mice leads to developmental disturbances in dentate gyrus (DG) affecting synaptic excitability, morphology, neurogenesis and related behaviour during adulthood. Here, we demonstrate that hyperexcitability of the medial perforant path-to-DG (MPP-DG) pathway in BsnEmx1cKO mice emerges during adolescence and is sustained during adulthood. We further provide evidence for a potential involvement of tropomyosin-related kinase B (TrkB), the high-affinity receptor for brain-derived neurotrophic factor (BDNF), mediated signalling. We detect elevated TrkB protein levels in the dorsal DG of adult mice (~3–5 months-old) but not in adolescent (~4–5 weeks-old) mice. Electrophysiological analysis reveals increased field-excitatory-postsynaptic-potentials (fEPSPs) in the DG of the adult, but not in adolescent BsnEmx1cKO mice. In line with an increased TrkB expression during adulthood in BsnEmx1cKO, blockade of TrkB normalizes the increased synaptic excitability in the DG during adulthood, while no such effect was observed in adolescence. Accordingly, neurogenesis, which has previously been found to be increased in adult BsnEmx1cKO mice, was unaffected at adolescent age. Our results suggest that Bassoon plays a crucial role in the TrkB-dependent postnatal maturation of the hippocampus.
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39

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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40

Byrne, Maurice. "Le Breton and the Counter Tenor Bassoon." Galpin Society Journal 41 (October 1988): 115. http://dx.doi.org/10.2307/842719.

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41

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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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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43

Schattling, Benjamin, Jan Broder Engler, Constantin Volkmann, Nicola Rothammer, Marcel S. Woo, Meike Petersen, Iris Winkler, et al. "Bassoon proteinopathy drives neurodegeneration in multiple sclerosis." Nature Neuroscience 22, no. 6 (April 22, 2019): 887–96. http://dx.doi.org/10.1038/s41593-019-0385-4.

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44

Sanmartí-Vila, Lydia, Susanne tom Dieck, Karin Richter, Wilko Altrock, Lixia Zhang, Walter Volknandt, Herbert Zimmermann, Craig C. Garner, Eckart D. Gundelfinger, and Thomas Dresbach. "Membrane Association of Presynaptic Cytomatrix Protein Bassoon." Biochemical and Biophysical Research Communications 275, no. 1 (August 2000): 43–46. http://dx.doi.org/10.1006/bbrc.2000.3256.

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45

Dawson, William J. "Bassoonists’ Medical Problems—Current State of Knowledge." Medical Problems of Performing Artists 27, no. 2 (June 1, 2012): 107–12. http://dx.doi.org/10.21091/mppa.2012.2019.

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Specific musical instruments can be a source of physical problems to their players. Based on reviews of the literature and personal experience, this paper summarizes current knowledge of problems affecting musicians who play instruments in the bassoon family (including the bassoon, contrabassoon, and several other instruments). Prevalence rates are higher in reports of surveys (ranging up to 86%), compared to clinical reports of patients seen and treated. Significant risk factors include young age, small body size, female gender, and use of large instruments. Problems unique to bassoonists are rare; most physical difficulties also are seen in general musculoskeletal clinical practices and in musicians playing all types of instruments. The left upper extremity is more commonly affected by overuse-related conditions in bassoonists. Non-playing-related problems are equally important for consideration (such as degenerative disorders and acute trauma), since they also affect practice and performance. Little experimental data exist to validate current and widely-held principles of treatment, rehabilitation, and prevention.
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46

tom Dieck, Susanne, Wilko D. Altrock, Michael M. Kessels, Britta Qualmann, Hanna Regus, Dana Brauner, Anna Fejtová, Oliver Bracko, Eckart D. Gundelfinger, and Johann H. Brandstätter. "Molecular dissection of the photoreceptor ribbon synapse." Journal of Cell Biology 168, no. 5 (February 22, 2005): 825–36. http://dx.doi.org/10.1083/jcb.200408157.

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The ribbon complex of retinal photoreceptor synapses represents a specialization of the cytomatrix at the active zone (CAZ) present at conventional synapses. In mice deficient for the CAZ protein Bassoon, ribbons are not anchored to the presynaptic membrane but float freely in the cytoplasm. Exploiting this phenotype, we dissected the molecular structure of the photoreceptor ribbon complex. Identifiable CAZ proteins segregate into two compartments at the ribbon: a ribbon-associated compartment including Piccolo, RIBEYE, CtBP1/BARS, RIM1, and the motor protein KIF3A, and an active zone compartment including RIM2, Munc13-1, a Ca2+ channel α1 subunit, and ERC2/CAST1. A direct interaction between the ribbon-specific protein RIBEYE and Bassoon seems to link the two compartments and is responsible for the physical integrity of the photoreceptor ribbon complex. Finally, we found the RIBEYE homologue CtBP1 at ribbon and conventional synapses, suggesting a novel role for the CtBP/BARS family in the molecular assembly and function of central nervous system synapses.
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47

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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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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49

Kenmochi, Hiroshi. "German bassoon equipped with improved pianissimo key mechanism." Journal of the Acoustical Society of America 91, no. 2 (February 1992): 1196. http://dx.doi.org/10.1121/1.402591.

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50

Kononenko, Natalia, Arndt Pechstein, and Volker Haucke. "Synaptic requiem: a duet for Piccolo and Bassoon." EMBO Journal 32, no. 7 (March 8, 2013): 920–22. http://dx.doi.org/10.1038/emboj.2013.55.

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