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Relevant bibliographies by topics / Oboe music

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Academic literature on the topic 'Oboe music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 February 2023

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Journal articles on the topic "Oboe music"

1

Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (October 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.

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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.

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Maxwell, Melinda. "Oboe." Musical Times 129, no. 1746 (August 1988): 410. http://dx.doi.org/10.2307/965981.

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O'Loughlin, Niall. "Modern Oboe." Musical Times 128, no. 1731 (May 1987): 278. http://dx.doi.org/10.2307/965131.

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O'Loughlin, Niall, and Bruce Haynes. "Early Oboe." Musical Times 128, no. 1730 (April 1987): 210. http://dx.doi.org/10.2307/965429.

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O'Loughlin, Niall. "18th-Century oboe." Musical Times 126, no. 1712 (October 1985): 609. http://dx.doi.org/10.2307/964930.

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Eppelsheim, Jürgen. "Pommern tiefer Lage (Bombardi, Bombardoni, Bomharte) als Bestandteil des Basso-continuo-Instrumentariums." Die Musikforschung 66, no. 1 (September 22, 2021): 2–11. http://dx.doi.org/10.52412/mf.2013.h1.99.

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Die französischen Holzblasinstrumente Oboe und Fagott hatten im Bereich kirchlicher Figuralmusik eine neue Situation geschaffen: Ihre die Klangnatur wesentlich mitprägende Einstimmung im "Kammerton" war um zwei Halbtöne ("hoher Kammerton") oder sogar drei Halbtöne ("tiefer Kammerton") tiefer als der über Jahrhunderte etablierte (und bis ins mittlere 19. Jahrhundert in Gebrauch bleibende) "Chorton" der Orgel. Als Lösung für ein Zusammenwirken bot sich an, die Komposition insgesamt nach wie vor am Chorton der Orgel auszurichten, Oboen- und Fagottstimmen aber zu transponieren, wie Johann Sebastian Bach es vor seiner Leipziger Zeit tat. Oder (wie in Leipzig von Bachs Vorgänger Kuhnau praktiziert) die Komposition orientierte sich am ("hohen") Kammerton, der für das gesamte Ensemble galt, während die Continuo-Stimme für die Orgel zu transponieren war. Der "Bombardo", der hier näher bestimmt wird, erweist sich durch seine Chortonstimmung als Instrument einer gegenüber Oboe und Fagott älteren Generation, das hier auch unter erheblich veränderten Gegebenheiten des Ensemblemusizierens im Gebrauch bleibt.

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Griffiths, Paul. "Elliott Carter." Tempo 57, no. 226 (October 2003): 47–48. http://dx.doi.org/10.1017/s0040298203230357.

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ELLIOTT CARTER: Steep Steps1; Two Diversions2; Oboe Quartet3; Figment No.24; Au Quai5; Of Challenge and of Love6; Figment No.17; Retrouvailles8; Hiyoku9. 1Virgil Blackwell, 2,8Charles Rosen, 3Stephen Taylor, 3Curtis Macomber, 3,5Maureen Gallagher, 3Eric Bartlett, 4,7Fred Sherry, 5Peter Kolkay 6Tony Arnold, 6Jacob Greenberg, 9Charles Neidich, 9Ayako Oshima. Bridge 9128CARTER: Oboe Quartet1; Four Lauds2; A 6 Letter Letter3; Figments Nos.1–24. ISANG YUN: Piri5; Oboe Quartet6. 1,3,5,6Heinz Holliger, 1,2,6Thomas Zehetmair, 1,6Ruth Killius, 1,4,6Thomas Demenga. ECM New Series 1848/49

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Haynes, Bruce. "Mozart and the oboe." Early Music XX, no. 1 (February 1992): 43–63. http://dx.doi.org/10.1093/earlyj/xx.1.43.

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Burgess, Geoffrey. "The louisquatorzien oboe band." Early Music XXIII, no. 4 (November 1995): 714–16. http://dx.doi.org/10.1093/earlyj/xxiii.4.714.

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Redgate, Christopher. "Re-inventing the oboe." Contemporary Music Review 26, no. 2 (April 2007): 179–88. http://dx.doi.org/10.1080/07494460701295382.

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Dissertations / Theses on the topic "Oboe music"

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Walsh, Bradley Michael. "Humbert Lucarelli: Oboe Artist." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306807891.

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Randelin, Anna. "Orkesteroboen : en analys av tre utdrag som en oboist alltid spelar." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2424.

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Gookin, Jennifer L. "The development of the solo oboe genre : a study of five works from the second half of the twentieth century /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11442.

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Hamilton, Sarah J. "An annotated bibliography of Canadian music for oboe, oboe d'amore and English horn found in the Canadian Music Centre." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1235580996.

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Secan, Stephen R. "Amplitude and frequency modulation in Oboe Vibrato." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407510603.

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Eccleston, Elizabeth E. "An Annotated Bibliography of Canadian Oboe Concertos." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471254044.

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Milar, Kendall. "Fast Fourier transform analysis of oboes, oboe reeds and oboists : what matters most to timbre." South Hadley, Mass. : [s.n.], 2008. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2008/257.pdf.

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BOOZE, LEANNA. "THE OVERLOOKED REPERTORY: TWENTIETH-CENTURY FRENCH OBOE ETUDES." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054061628.

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Eernisse, Elliot Adam. "Overcoming technical and musical challenges for the oboe using excerpts from orchestral and solo repertoire." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2071.

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This document serves as a guide for college oboists who wish to improve their playing by targeting technical and musical challenges with annotated excerpts from orchestral and solo oboe repertoire. The contents of this essay are categorized by eighteen different performance challenges such as intonation, little-finger agility, dynamic contrast through the full range of the oboe, half-hole technique, phrasing, and rapid tonguing. Each chapter begins by identifying technical or musical difficulties and provides advice on how to overcome it using excerpts from the oboe repertoire. Each chapter presents two annotated orchestral excerpts and one solo oboe excerpt that targets the technical or musical difficulty. The orchestral excerpts are selected from standard orchestral repertoire from the eighteenth to the twentieth century. The oboe solo excerpts are selected from the repertoire that is widely taught in most universities. In conjunction with professional instruction, this guide may aid in improving an oboe student's performance abilities. My goal in writing this guide is two-fold: to give aspiring oboists a task-specific tool to use as they struggle with musical and technical impediments, and at the same time, to familiarize them with orchestral and solo oboe repertoire.

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Bidgood, Lee, and Heather Killmeyer. "Appalachian Wind: A Faustian Tale for Oboe by Ljova Zhurbin." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1048.

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This presentation is the premiere performance of a new musical composition for solo oboe, bluegrass band, and narrator. This new work combines the diverse musical traditions of Western classical music and Bluegrass with storytelling to reflect the unique cultural heritage of Appalachia. Appalachia is home to a rich and diverse cultural heritage that reflects its history of immigration. The modern oboe is a double reed instrument of French lineage that has served an important role in the development of the modern symphony orchestra. Bluegrass music also has European roots, but is a uniquely American genre reflecting the region’s rich history of immigration and integration of cultures. Bluegrass and Western classical music each have respective traditions in the method of music performance, composition, and dissemination. This performance is the premiere of a new musical composition commissioned for oboe soloist, bluegrass band and narrator. Incorporating a newly written narrative that reflects Appalachian storytelling and literary traditions, the piece incorporates the instruments, methods of performance, and musical style of the two musical genres. Re-imagining Faust’s tragic tale for this unique instrumental ensemble, this innovative work incorporates the dramatic tale of a desperate man who makes a deal with the devil to win the heart of an enchanting oboist.

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Books on the topic "Oboe music"

1

Edwin, Roxburgh, ed. Oboe. London: Kahn & Averill, 1993.

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Hoffman, Joel. Music for two oboes. New York: Galaxy Music Corp., 1988.

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Goossens, Léon. Oboe. 3rd ed. London: Kahn & Averill, 1993.

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4

Pinkham, Daniel. Reeds: Oboe solo. New York: C.F. Peters, 1988.

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5

Denisov, Ėdison Vasilʹevich. Solo für Oboe =: Solo for oboe = Solo pour hautbois. Leipzig: Deutscher Verlag für Musik, 1996.

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6

1942-, Haynes Bruce, ed. The oboe. New Haven, Conn: Yale University Press, 2004.

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Burgess, Geoffrey, and Burgess Geoffrey. The oboe. New Haven, CT: Yale University Press, 2004.

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8

Monaco, Alfredo del. Lyrika: Oboe solo (1990). Caracas, Venezuela: Fundación Vicente Emilio Sojo, 1998.

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9

Asia, Daniel. Alex: For solo oboe (1973). Bryn Mawr, Pa: Merion Music, 1994.

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1942-, Haynes Bruce, ed. Music for oboe, 1650-1800: A bibliography. Berkeley, Calif: Fallen Leaf Press, 1985.

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Book chapters on the topic "Oboe music"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Oboe." In The Teaching of Instrumental Music, 221–36. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-17.

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Schmid, Manfred Hermann. "Kontrabaß-Oboe und Großbaß-Pommer Zu Traditionsüberlagerungen im 18. Jahrhundert." In Musik in Baden-Württemberg, 95–121. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-03566-0_7.

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3

Schmitt-Weidmann, Karolin. "5. Der Herzschlag als Dirigent Heinz Holligers Cardiophonie für Oboe und drei Magnetophone (1971) und Cathy van Ecks Double Beat - a performance for plastic bags, breath, two heart beats and electronics (2013)." In Der Körper als Vermittler zwischen Musik und (all)täglicher Lebenswelt, 200–208. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839458457-026.

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"The Oboe." In The Teaching of Instrumental Music, 139–54. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-18.

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Fiala, Michele. "David Walter." In Great Oboists on Music and Musicianship, 233–38. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0022.

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After obtaining first prize in oboe and chamber music at the Conservatoire National Supérieur de Musique de Paris, David Walter won international prizes in Ancona, Prague, Munich, Belgrade, and Geneva. He is a founding member (1980) of the Quintette Moragues. At twenty-nine years old, he was appointed the youngest-ever oboe and chamber music professor at the Paris Conservatoire. In this interview, he examines the relationship between being a conductor and being a performer. He talks about ensemble playing skills and those specific to chamber music. Walter discusses competitions, teaching, “schools” of oboe playing, and finding your own voice. He shares artists who inspire him, reminiscences on his career, and his activities outside of music.

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Fiala, Michele. "Gordon Hunt." In Great Oboists on Music and Musicianship, 100–109. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0011.

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Gordon Hunt is currently principal oboe of the London Chamber Orchestra, and formerly of the Philharmonia and London Philharmonic Orchestras. In this interview, he discusses his early career, tone, reeds, vibrato, and the application of the string concept of louré to oboe. He shares his ideas on breathing, air support, and making a musical plan. He closes with reminiscences of great concerts.

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Fiala, Michele. "John Ferrillo." In Great Oboists on Music and Musicianship, 57–67. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0007.

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John Ferrillo joined the Boston Symphony Orchestra as principal oboe in 2001. From 1986 to 2001, he was principal oboe of the Metropolitan Opera Orchestra. In this chapter, he discusses his early career, auditions, breathing for wind playing, and the relationship of teaching and playing. He also reminisces about his experiences at the Curtis Institute of Music with John de Lancie and about his most memorable performances.

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Fiala, Michele. "Thomas Indermühle." In Great Oboists on Music and Musicianship, 110–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0012.

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Thomas Indermühle studied with Heinz Holliger and Maurice Bourgue. He won prizes at the Prague International Competition (1974) and the ARD International Competition in Munich (1976) and has appeared as a soloist across Europe, the United States, and parts of Asia. He teaches oboe at the Staatliche Hochschule für Musik in Karlsruhe and the Zurich Conservatory. In this chapter, Indermühle offers his advice on competitions, tone, reed making, teaching, and being a conductor and performer. He discusses ideal throat/mouth position, tools he uses when teaching, and the ideal use of air when performing on oboe. He further offers his thoughts on talent and starting people on the oboe. The chapter includes descriptions of some of his reed-alone exercises.

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Fiala, Michele. "Elaine Douvas." In Great Oboists on Music and Musicianship, 44–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0006.

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Elaine Douvas has served as principal oboe of the Metropolitan Opera since 1977 and oboe instructor at the Juilliard School since 1982. In this interview, she discusses her early life and career, auditions, her teaching, and the relationship of vocal and instrumental music. She offers advice on tone production, articulation, reeds, and vibrato. She talks about the differences between playing in an opera orchestra versus a symphony orchestra and the connections between figure skating and music.

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Fiala, Michele. "Alex Klein." In Great Oboists on Music and Musicianship, 163–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0017.

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Brazilian oboist Alex Klein won a 2002 Grammy Award for Best Instrumental Soloist with Orchestra and first prize at the International Competition in Geneva, the New York International Oboe Competition, and the Fernand Gillet International Competition. From 1995 to 2004, Klein was principal oboist of the Chicago Symphony Orchestra, a position he left after struggles with focal dystonia. He is currently artistic director of the Santa Catarina Music Festival (“FEMUSC”) in Brazil, principal oboe of the Calgary Philharmonic Orchestra in Canada, and oboe instructor at DePaul University. In this interview, Klein talks about his start in music, his teaching, and the combination of solo and orchestral performing in his career. He describes his brand of “musical activism” and his mindset while playing. He offers ideas for developing technique and shares his difficulties with focal dystonia. Klein offers advice on the use of air and vibrato and shares memorable experiences.

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Conference papers on the topic "Oboe music"

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Wang, Lu. "The Establishment of College Music Teaching Model under the OBE Educatian Idea." In Proceedings of the 2019 International Conference on Management, Education Technology and Economics (ICMETE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icmete-19.2019.84.

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