Academic literature on the topic 'Oboe music Oboe music Music Instrumental music'
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Journal articles on the topic "Oboe music Oboe music Music Instrumental music"
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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.
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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.
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Li, Feng, and Hao Chang. "Music Signal Separation Using Supervised Robust Non-Negative Matrix Factorization with β-divergence." International Journal of Circuits, Systems and Signal Processing 15 (February 22, 2021): 149–54. http://dx.doi.org/10.46300/9106.2021.15.16.
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We propose a supervised method based on robust non-negative matrix factorization (RNMF) for music signal separation with β-divergence called supervised robust non-negative matrix factorization (SRNMF). Although RNMF method is an effective method for separating music signals, its separation performance degrades due to has no prior knowledge. To address this problem, in this paper, we develop SRNMF that unifying the robustness of RNMF and the prior knowledge to improve such separation performance on instrumental sound signals (e.g., piano, oboe and trombone). Application to the observed instrumental sound signals is an effective strategy by extracting the spectral bases of training sequences by using RNMF. In addition, β-divergence based on SRNMF be extended. The results obtained from our experiments on instrumental sound signals are promising for music signal separation. The proposed method achieves better separation performance than the conventional methods.
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Martynova, Valeriya. "Concerting oboe: timbre, technique, traditional and latest methods of playing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 149–65. http://dx.doi.org/10.34064/khnum1-50.11.
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Background. Oboe as a concert instrument has passed a rather long path of evolution, on which it has been improved according the parameters of its design, the technique of virtuoso play and the requests of composer writing. The concentrate of universal capabilities of the soloing (concerting) oboe is the concerto genre, in which all these parameters are combined in an integral entire. The objective of this article is to sequentially consider the components of the concerting oboe “image”, such as timbre and articulation-and-stroke technique, including typical and latestmethods of writing and playing. The methodology of researching based on the set of such approaches to the phenomenon under study as historical-and-genetic, deductive, system-and-structural. Results. Based on the consideration of the concerting principle in its historical and stylistic dynamics, the article reveals the specifications of timbre-and-technical means characterized the oboe in various genre forms of the concert. The data on the specifics of the oboe effects found in the concert music for this instrument are also systematized. The latest methods of playing are characterized, and a refined classification of multiphonics used in modern oboe practice is proposed. It is noted that the concept of concerting style first appeared in the Baroque era, when instruments and voices in the new homophonic practice began to reach the level of soloing. At the same time, the principles of concerting manner as a dialogue in various forms of its implementation were formed, among which the form of group or collective concerting represented by the genre of concerto grosso was primary in instrumental music. Within this form, the concerting oboe stands out, and for a long time it participated in a trio of soloists who performed in this genre as concertino opposing to grosso – the mass of the rest of the orchestra. The article identifies the main specific features of the timbre and technique associated with the oboe design (double reed) and the performer’s breathing (gradual exhalation). Particular attention is paid to the oboe effects technique, as well as a set of means for sound-producing and sound-leading characterized this instrument in its comparison with others belonging to the same family (wood winds) or to others (bowed string, brass instruments). On this basis, a description of the performing means of expressiveness of the oboe is proposed, including not only the specific (timbre-and-acoustic), but also the universal components that the oboe takes over from others instruments playing with him in an ensemble or an orchestra. In particular, among such there is the vibrato technique, which came to the oboe practice from the string instruments, as well as the two main groups of effects – connected (legato and its types), divided (staccato, spiccato, martele) and the special methods of playing adapted “for the oboe”, in particular, pizzicato and “slap”. (For an oboe, the “slap” is a sharp tongue strike on the reed with a simultaneous key strike or without it, as well as a key strike without blowing air in). Among the techniques that have the specific forms of reproduction on the oboe, the article discusses tremolo of different interval volumes, to which a special fingering is adjusted; frullato (the “oral” kind with using of the “r” sound like in a trumpet, and “overtone” kind producing by a performer’s throat); glissando, existing on the oboe in two versions, labial and finger. As examples of the latest methods of playing specified to the concerting oboe practice, those are discussed that contribute to the timbre re-coloring of the same sound or the sound set that significantly expands the sound-and-color capabilities of the instrument, and promotes to the process of its further universalization. These, for example, are bisbigliando, the technique that came from the harp practice, when an oboist gets the same sound in different ways; variety kinds of multiphonics; smorzato (a slow fluctuation of sound volume), oscillato (a similar change in pitch). Also the technique of doubletone is mentioned, when the oboist sings along with playing, which allows to produce consonances (intervals and even chords) on the instrument. Conclusions. The results of the research confirm the fact that the solo concerting oboe was formed in the process of a long historical and stylistic evolution, which is reflected in the genre of concerto for oboe, where the timbre-and-technical capabilities of the instrument are most complete. The complex of technique effects as the component of musical expressiveness was especially importance in formation of the cumulative sound image of the “universal” oboe. Thus, the concerting oboe was formed in line with the general processes of the development of musical thinking, which was connected with the practice of concert style, the principle of concerting as a musical and aesthetic category. Reflecting in different genre forms the development of the concert music, collective and solo, the oboe “sound image” has acquired by now the quality of genuine universalism, while retaining its specificity, connected with the features of its performing factor. The prospects for further study of the stated topic are seen, firstly, in the concretization of the stylistics of the concert oboe on examples of works of the concert genre; it will be necessary to build a certain logic of selection of material, which should not only illustrate the historical process, but also contain characteristics of individual creative embodiments of the “image” of the oboe by composers and performers. Secondly, they may be connected with the possibilities of projection in the proposed research methodology onto the concert music for others instruments.
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Hammond, Matthew. "Huddersfield Contemporary Music Festival: 21–23 November 2014." Tempo 69, no. 272 (April 2015): 63–65. http://dx.doi.org/10.1017/s0040298214001077.
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hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting of a poem (or 37 poems) by John Ashbery, sung by Thomas Buckner with an accompanying ensemble of oboe, horn, viola and cello. Like the poems, Wolff's settings are self-contained but accumulative, and, as the composer says in the programme notes, the ‘may form’ a whole. Variety is achieved through shifts within the accompanying instrumentation (some settings having none), line and fragmentation, instrumental technique, suggestions of common-practice harmony, flashes of word painting and spoken accompaniment from the instrumentalists (one haiku is spoken by the violinist, another is spoken in fragments across the ensemble). Coherence across these fragments is created simply through the presence of Wolff's mature and distinctive post-Webern sound world.
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Döbereiner, Luc. "Between the Abstract and the Concrete: A Constraint-Based Approach to Navigating Instrumental Space." Computer Music Journal 43, no. 1 (January 2020): 8–20. http://dx.doi.org/10.1162/comj_a_00497.
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This article deals with a way that algorithmic composition systems can be informed by material realities of musical performance. After a general discussion of the relation of abstract algorithms to concrete materiality, the article focuses on the idea of an instrument's space of possibilities. It briefly discusses a number of compositional approaches that seek to derive musical structure from bodily movements and from the physical properties of instruments. The last part describes a new open-source JavaScript library called OboeJS and a Web application based on this library. The system is an experimental exploration of the idea of instrumental space and an attempt to bring together abstract algorithmic processing and the concrete possibilities of a musical instrument. The system implements a flexible constraint-based search algorithm for the generation of oboe fingering sequences. This tool is presented as part of a wider approach to algorithmic composition that aims not to map data output of generative procedures to “sound generators” (e.g., performers, instruments, sound synthesis processes). Instead, I propose to derive structure from the space of possibilities of the instrument itself, which in this case is the oboe.
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Corall, Georg. "The Lilien Partbooks in the Sonsfeld Collection (D-HRD Fü 3741a): A Reconsideration of the Role of Eighteenth-Century Prussian Hautboisten and their Engagement in ‘Art’ Music." Royal Musical Association Research Chronicle 49 (2018): 68–178. http://dx.doi.org/10.1080/14723808.2018.1443618.
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In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally routinely trained to perform on multiple wind instruments as well as string instruments.The Lilien Partbooks, which are part of the Sonsfeld Collection (the Sonsfeldsche Musikalien Sammlung; now held in the Bibliotheca Fürstenbergiana in Herdringen; D-HRD Fü 3741a), represent the most comprehensive primary source of music for such an ensemble. A detailed incipit catalogue of the compositions compiled in these partbooks draws together our current knowledge of the Lilien Partbooks and of eighteenth-century Prussian Hautboisten. The extensive catalogue of the works collated in the six partbooks constitutes a valuable aid for future research.
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Kozyriatskyi, Mykhailo. "COMPOSITIONAL-DRAMATIC FEATURES OF THE SONATA FOR OBOE AND PIANO BY F. POULENC." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 37–52. http://dx.doi.org/10.34064/khnum1-58.03.
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Backround. Chamber instrumental music by F. Poulenс is a bright, original and important part of the composer’s creative heritage. The sonata genre, represented by ten works for different instruments, occupies a special place in it. F. Poulenc’s appealed to it throughout his career, so studying samples of this genre belonging to different periods helps to trace the evolution of F. Poulenc’s compositional style. However, despite the widespread popularity of performers, chamber and instrumental works by F. Poulenс are not sufficiently covered in music studies. The purpose of the article is to reveal the compositional and dramatic features of the Sonata for oboe and piano by F. Poulenс. Results. Some specific techniques characteristic of S. Prokofiev’s works as a sign of respect for the Russian composer are used in the Sonata for the oboe and piano by F. Poulenc. This work has a genre and narrative-psychological program, as evidenced by the names of the movements: “Elegy”, “Scherzo”, and “Sorrow”. The title of the first movement – “Elegy” – means “mourning song” in Greek. This genre is quite common in the works of Russian composers. It seems legitimate that, in devoting his sonata to S. Prokofiev, F. Poulenc gave the first movement a title related to Russian culture. Songful, clear in structure melody is harmonized with the involvement of transitions to the distant keys. The second movement of the Sonata – “Scherzo” – contrasts sharply to Elegy. Exquisite harmonies and complex polyphonic combinations are replaced by monophony. If in the first movement the text of the piano part indicated the use of a soft deep carcass, the second movement applied a sharp, sometimes too rough, martellato. Elegy’s sophisticated agogics are destroyed by “iron” metricity, precision, and regular Scherzo’s accents. The Scherzo genre is interpreted here in a sharp grotesque way. The introduction begins in the dynamics of f and has a rigid rhythm. The parts of both instruments are completely equal. The endsections of Scherzo are steeped with “hypnotic” rhythmic movement. The middle section of the second movement is lyrical. The thematicism of the Scherzo middle section refers to the lyrical pages of S. Prokofiev’s work. The semantic center of the entire sonata for the oboe and piano by F. Poulenс is the third movement – “Sorrow”, which is a kind of musical epitaph. Created shortly before the composer’s death, the sonata can be considered one of thefinal results of his career. Perhaps this is not only a tribute to S. Prokofiev, but also a musical monument to himself. The textual presentation of the third movement is reminiscent of the choral. The melodic basis of the sonata finale is a set of intonations that are associated with spiritual singing of the Orthodox tradition. The main theme is exhibited in piano solo and has a mournful character, almost completely surreal. Conclusions. F. Poulenc’s Oboe and Piano Sonata is a three-movement cycle that has a genre and psychological program, as evidenced by the names of the movements. None of them uses the sonata form itself. All movements have a threesectionreprise structure. This, along with the program, points to the influence of suite logic, which fits into the tendency for the genre to be renewed in the 20th century, including combining the sonata genre with others. Working with different genre models and their hybrids is also a reflection of the neoclassical trends of 20th-century music that have always been inherent in F. Poulenc’s work. Signs of influence of Russian composers – S. Prokofiev, I. Stravinsky, M. Mussorgsky – are manifested not only at the level of thematicism, quotations, intonational allusions, types of texture presentation, but also at the level of dramaturgy. Thus, the interaction of lyrical and grotesque musical images in the second part is reminiscent of the conflict of love and enmity in S. Prokofiev’s ballet “Romeo and Juliet”.
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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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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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Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.
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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author of a piece of music as well as his/her style, the so-called “stylish performance” (according to L. Gakkel), which employs music expression as the main feature of its semantics from the point of affecting audience. The article observes stages of formation of performing art, which are closely related to the evolution of musical thinking, and distinguishes instruments that were taking the lead at different historical periods. Therefore, all these factors together stipulate scientific originality of the suggested research. It is noted that traditionally the concept of “virtuosity” in performing art, as a rule, reflects only one aspect of artistic process – the technical one which is connected with professional skills of a musician. As if behind the scenes there remains a philosophical and aesthetic background of virtuosity leading to praxeology – the science about forms of human activity. From this perspective, “activity” is linked to “freedom” and makes up a dialectical pair with it. In other words, the freer a performer is, the higher level of his “mastery of doing” (according to T. Cherednichenko) is, and the more widely he understands the category of virtus, which came to Baroque music from the theatrical theory of affects. It was during this time that the “class” of professional virtuoso performers was formed, which makes Baroque “concert style” basically different from the Renaissance one in which the performers – choristers and orchestra members – were “anonymous”. Each performing school – epochal, national, regional, authorial – develops its own performing standards, determined by the peculiarities of musical thinking under different historical or “geographical” conditions. As a result of these processes, paradigmatic attitudes of musical thinking emerge in the form of its social communicative and artistic determinants, generating one or another type of musical culture, including its performing aspect. It is proved that musical performing was most influenced by evolution of semantic ideas which serve as a basis for epochal stylistic systems: 1) in Antiquity there prevailed an “idea of a number” which dealt directly with cosmological harmonia mundi (the leading instruments were plucked string ones – lyre, cithara as well as aulos; 2) in the Middle Ages influenced by the ideas of Antiquity the Christian idea of Divine Universe was prevailing, and performing culture-bearers were anonymous choristers performing Gregorian chants and their first adaptations; 3) Renaissance period with its idea of humanization of art puts a focus on the image of a virtuoso creator that combines the roles of a performer and a composer (the leading instruments here are organ and clavier in combination with voices and bowed string instruments); 4) Baroque period with its cult of theory of affects is notable for the image of a virtuoso performer that combined in-depth knowledge and high-class technique (the range of instrumental timbres was being expanded significantly – up to the usage of most instruments of then-orchestra with the focus on bowed string instruments as well as some brass ones – flute, trumpet, oboe); 5) Classicism which replaced Baroque clearly differentiated composers and performers giving a strong preference to the first ones (there could be observed a variety of performance specializations from the point of instruments: traditional bowed string instruments and a clavier were enriched with both woodwinds and brass winds). In the era of Romanticism, there can be observed a new synthesis of composer’s and performer’s intentions in the creation and representation of musical compositions of various genres and forms, compliant with the Baroque era to some extent. The style of “creative virtuosos” was formed, and it replaced the style of “playing creators” (according to N. Zhaivoronok), which constitutes the main (epochal) division in the formation and evolution of the virtus phenomenon in music: it becomes universal and can reveal itself in three versions – composer’s, performing, and mixed. The latter one includes two styles, distinguished by the emphasis on the components – composer-performer or performer-composer style (according to V. Tkachenko). As for music of the most recent period (XX – the beginning of XXI century) with its stylistic pluralism, it does not feature complicated intertwining of all variants of the phenomenon virtus that needs to be dealt with separately in terms of individual styles – composer’s and performer’s as well as their combination.
Dissertations / Theses on the topic "Oboe music Oboe music Music Instrumental music"
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Tseng, Yu-Chung 1960. "Five Soundscapes for Acoustic Instruments and Taped Computer Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935784/.
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Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.
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Cleveland, Susannah 1972. "Eighteenth-Century French Oboes: A Comparative Study." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2812/.
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The oboe, which first came into being in the middle of the seventeenth century in France, underwent a number of changes throughout the following century. French instruments were influenced both by local practices and by the introduction of influences from other parts of Europe. The background of the makers of these instruments as well as the physical properties of the oboes help to illuminate the development of the instrument during this period. The examination of measurements, technical drawings, photographs, and biographical data clarify the development and dissemination of practices in oboe building throughout eighteenth-century France. This clarification provides new insight into a critical period of oboe development which has hitherto not been exclusively addressed.
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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.
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Heinemann, Alma. "En fri interpretation : En analys kring olika instruments påverkan på interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2993.
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Adagio und Allegro op. 70 är ett stycke för valthorn och piano av Robert Schumann (1810– 1856). Den skrevs 1849 av Schumann, ett år som han ägnade mycket åt att skriva för soloinstrument med piano. Adagio und Allegro finns även utgivet för andra soloinstrument än valthorn, bland annat violoncell, violin, oboe och tuba. Syftet med studien är att utföra en interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano som jag vill ha det rent musikaliskt och inte för att jag spelar valthorn. Jag kan uppleva att vi ibland styrs lite för mycket av vilket instrument vi spelar, att det ibland står i vägen för vår musikaliska interpretation. Jag har valt tre instrument jag kommer studera, dessa är valthorn, oboe och cello. Jag har jämfört notutgåvor, med utgångspunkt från min hornutgåva och inspelningar från tre instrumentalister per instrument. Detta för att försöka få en bred bild av hur stycket tolkas på olika instrument. Jag upptäckte att det finns en hel del skillnader mellan notutgåvorna. De flesta av skillnaderna är för att anpassa verket efter det instrument som ska spela. Dock innehöll oboestämman betydligt fler och större nyansskillnader än horn- och cellostämman. Mellan instrumentalisterna jag lyssnade på var det också stor skillnad. Jag upplevde att cellisterna generellt spelade mest uttrycksfullt och expressivt, men också att det varierar från musiker till musiker. Min slutsats av detta är att vi lätt låter vårt instrument styra mer än vi tror över vår interpretation. Dock upplever jag att flera av de modernare instrumentalisterna är lite mer fria än de äldre. Att vi mer och mer söker den tolkning vi vill ha musikaliskt och inte styrs av hur man ”bör” spela. Jag anser att vi går åt rätt riktning.För fullständig info om examenskonserten, repertoar samt medverkande se bilaga med programmet. I ljudfilen finns endast Adagio und Allegro op. 70 av Robert Schumann med. Där spelar Alma Heinemann valthorn och Katarina Ström-Harg piano. Ljudfilen är från konserttillfället.
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Ljunggren, Oliver. "Bleckblås eller träblås : En studie i emotionellt uttryck." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53021.
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This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.
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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.
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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.
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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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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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Normand, Daniel. "Grâce à trois, Revue de presse : 9 septembre 1996 ; Transformations vernales : oeuvres musicales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33726.pdf.
Full textBooks on the topic "Oboe music Oboe music Music Instrumental music"
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Wernick, Richard. Oracle II: For soprano, oboe, and piano. Bryn Mawr, Pa: T. Presser, 1987.
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Johnston, Ben. Invocation: For soprano voice, flute, oboe, clarinet in B♭, bassoon, horn in F, trumpet in B♭, trombone, violin, viola, cello, d. bass : 1997. Baltimore, MD: Smith Publications, 1998.
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Christian, Ahrens, Klinke Gregor, and Herne (Arnsberg Germany), eds. Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts : Symposium im Rahmen der 33. Tage Alter Musik in Herne 2008. München: Katzbichler, 2008.
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Luciano, Berio. Opus number zoo: Children's play for wind quintet (1951, rev. 1970). London: Universal Edition, 1998.
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Denisov, Ėdison Vasilʹevich. Solo für Oboe =: Solo for oboe = Solo pour hautbois. Leipzig: Deutscher Verlag für Musik, 1996.
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Monaco, Alfredo del. Lyrika: Oboe solo (1990). Caracas, Venezuela: Fundación Vicente Emilio Sojo, 1998.
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1942-, Haynes Bruce, ed. Music for oboe, 1650-1800: A bibliography. Berkeley, Calif: Fallen Leaf Press, 1985.
Find full textBook chapters on the topic "Oboe music Oboe music Music Instrumental 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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"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. "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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Fiala, Michele. "Nicholas Daniel." In Great Oboists on Music and Musicianship, 16–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0003.
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Nicholas Daniel became known as an oboe soloist after winning the BBC Young Musician of the Year award at the age of eighteen. He has performed and conducted around the world and was awarded the Queen’s Medal for Music. In this interview, he talks about the performer-audience connection, fidelity to composers, problem solving in music, creating an interpretation, and being a soloist. He also discusses the relationship of vocal and instrumental music, commissioning, and highlights of his career.
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Fiala, Michele. "Diana Doherty." In Great Oboists on Music and Musicianship, 40–43. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0005.
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Diana Doherty is principal oboe of the Sydney Symphony Orchestra (Australia). She won first prize at the Prague Spring International Music Competition in 1991 and was a joint winner of the 1995 Young Concert Artist auditions in New York. In this chapter, she discusses her early life, the international aspects of her career, and reeds. She also talks about how she warms up on the instrument and offers advice on developing finger technique and articulation. She shares her inspirations and memorable concerts
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Williams, David A. "The iPad as a Musical Instrument!" In Creative Music Making at Your Fingertips, 83–97. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0007.
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When used to make music, the tablet device is a musical instrument and has several things in common with traditional wind and string instruments: It can be played well, making wonderful music, and it can be played poorly, producing sounds that are wanting in terms of musicality. First, and foremost, a tablet will make no sound until a human touches it. Second, practice is required to perform correctly on a tablet, and the performer must build technique. The tablet, like an oboe or violin, will do nothing musical until a human being interacts with it, develops technique through practice, and makes musical decisions using it. It is possible to use tablets in live performance by examining real-life examples by an iPad ensemble that model learner-centered pedagogical principles. Taking into account the social and musical aspects of the musicians, the chapter discusses possible approaches to rehearsals, what performances might involve, including collaborations with other artists, and breaking down the artificial fourth wall that too often is placed between musicians and audience.
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"majors. O=oboe, F=flute, T=trumpet, S=saxophone, C=clarinet. For example a pair is represented by letter combination: OF is oboe-flute. The second instrument was the soprano (D5)." In Music and the Cognitive Sciences 1990, 67. Routledge, 2004. http://dx.doi.org/10.4324/9780203393284-16.
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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer at the End." In Madeleine Dring, 205–54. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0008.
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The letters sent to American composer and pianist Eugene Hemmer allow Dring to speak in her own voice for the first time since the early diaries, documents that allow a glimpse into her musical as well as her personal life. There is a brief discussion of The Florida International Music Festival, which featured the US premiere of her most popular instrumental composition, the Trio for Flute, Oboe, and Piano, a work which provides a splendid example of her later musical style. Other works that are discussed include The Real Princess, a ballet written for Mari Bicknell’s Cambridge Ballet Workshop, and four song cycles: Dedications, Love and Time, Five Betjeman Songs, and Four Night Songs. Also documented are the first professional recordings of her compositions and the spiritual journey she undertook in her last years, the latter illustrated by talks that she gave at the Centre for Spiritual and Psychological Studies. Finally, her sudden death from a brain aneurysm is related through letters of Roger Lord and other documents, followed by her memorial service and concerts in her honor at the RCM.
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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.