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Journal articles on the topic 'Oboe music Oboe music Music Instrumental music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

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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2

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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4

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.

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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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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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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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Clarkson, Austin, George Rochberg, and Jacob Druckman. "Concerto for Oboe and Orchestra." American Music 7, no. 2 (1989): 232. http://dx.doi.org/10.2307/3052217.

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Page, J. K. "Oboe methods over the centuries." Early Music 35, no. 4 (November 1, 2007): 637–38. http://dx.doi.org/10.1093/em/cam102.

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Page, Janet K., and Bruce Haynes. "Music for Oboe, 1650-1800: A Bibliography." Notes 50, no. 1 (September 1993): 186. http://dx.doi.org/10.2307/898743.

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Hooper, Michael. "Collaboration and Coordination in the Creation of New Music." Leonardo 46, no. 1 (February 2013): 78–79. http://dx.doi.org/10.1162/leon_a_00490.

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Christopher Redgate is developing a new oboe for the 21st century and is working with composers to develop new music for the instrument. This article addresses the early stages of his collaboration with Sam Hayden. It demonstrates some of the coordination problems at the inception of a project that includes an instrument with a long history. The article sets out some of the ongoing concerns in documenting this work, arguing that the oboe itself is one of the principle forces shaping a collaboration that is future-focused.

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O'Loughlin, Niall, Stefan Wolpe, Paul Hayden, Ivan Erod, Gottfried von Einem, Thomas Daniel Schlee, Patrick Burgan, Philippe Leroux, and Jose-Luis Campana. "Suite im Hexachord for Oboe and Clarinet." Musical Times 134, no. 1801 (March 1993): 142. http://dx.doi.org/10.2307/1193861.

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Brumbeloe, Joe, and Stefan Wolpe. "Quartet for Oboe, Cello, Percussion, and Piano." American Music 14, no. 1 (1996): 132. http://dx.doi.org/10.2307/3052471.

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Gbur, Bruce. "Twentieth-Century Music for English Horn and Oboe." American Music 17, no. 2 (1999): 242. http://dx.doi.org/10.2307/3052725.

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Byo, James L., Amanda L. Schlegel, and N. Alan Clark. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Secondary School Instrumentalists." Journal of Research in Music Education 58, no. 4 (November 2, 2010): 316–28. http://dx.doi.org/10.1177/0022429410386230.

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To test the effects of octave and timbre on tuning accuracy, four stimuli—B-flat 4 sounded by flute, oboe, and clarinet and B-flat 2 sounded by tuba—functioned as reference pitches for high school wind players ( N = 72). The two stimulus octaves combined with participants’ assigned tuning notes created soprano, tenor, and bass tuning groups. All participants tuned to each instrument. Results indicated no effect due to tuning group. There was a significant difference due to stimulus. Participants’ responses were more out of tune to the tuba stimulus than to the oboe, clarinet, and flute stimuli, which were not different from each other. There was no difference in the distribution of in-tune, sharp, and flat responses across tuning stimuli, a result that differs from the “preference for sharpness” effect in previous research. Verbal and performance responses to the tuba, oboe, and flute stimuli revealed misconceptions between participants’ perceptions of tuning difficulty and actual performance difficulty and favored the use of oboe and flute as tuning references. Most of the participants (82%) reported tuning to the tuba as the prevalent approach to mass tuning in their school bands.

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Bernardini, Alfredo. "The oboe in the Venetian Republic, 1692–1797." Early Music XVI, no. 3 (August 1988): 372–87. http://dx.doi.org/10.1093/earlyj/xvi.3.372.

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Schiff, David, and Elliott Carter. "Oboe Concerto (1987)." Notes 48, no. 3 (March 1992): 1094. http://dx.doi.org/10.2307/941752.

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Thomas, Gavin, Heinrich Schiff, Heinz Holliger, Hakan Hardenberger, SWF SO Baden-Baden, Michael Gielen, Saschko Gawriloff, Siegfried Palm, Alfons, and Aloys Kontarsky. "Cello Concerto, Oboe Concerto, Trumpet Concerto, Canto di speranza." Musical Times 135, no. 1812 (February 1994): 108. http://dx.doi.org/10.2307/1002990.

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29

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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Beck, Jeremy, and Michael Berkeley. "Fierce Tears I and Fierce Tears II for Oboe and Piano. (Oxford Music for Oboe)." Notes 54, no. 1 (September 1997): 277. http://dx.doi.org/10.2307/899980.

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31

Rushton, Julian, Mozart, Marc Schachman, Eric Hoeprich, and Antaria Quartet. "Oboe Quartet: Clarinet Quartet; String Quartet in D, K.575." Musical Times 135, no. 1816 (June 1994): 387. http://dx.doi.org/10.2307/1003231.

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MAUNDER, RICHARD. "ANTONIO ROSETTI (1750–1792) OBOE CONCERTOS, SYMPHONIES Kurt W. Meyer (oboe) / Zürcher Kammerorchester / Johannes Moesus cpo 777 631–2, 2011; one disc, 71 minutes." Eighteenth Century Music 10, no. 1 (February 6, 2013): 151–52. http://dx.doi.org/10.1017/s1478570612000528.

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Gaunt, Helena. "Learning and teaching breathing and oboe playing: action research in a conservatoire." British Journal of Music Education 24, no. 2 (July 2007): 207–31. http://dx.doi.org/10.1017/s0265051707007425.

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This paper presents findings from action research in a conservatoire (the Guildhall School of Music & Drama) which focused on teaching and learning effective breathing in playing the oboe. A range of approaches and techniques emerged from a literature review. These were implemented in practice with oboe students at the Guildhall School, and changes in their practice and perceptions of breathing were analysed. Participants' responses to the approaches used were diverse, emphasising individual learning styles. Considerable changes in their breathing practice as oboists were observed, and in addition it was noted that in several cases their approach to learning became more reflective and self-directed.

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34

Stuardo-Concha, Marcos. "Nuevos Aires Chilenos para Oboe 2020." Revista musical chilena 75, no. 235 (June 2021): 254–55. http://dx.doi.org/10.4067/s0716-27902021000100254.

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CAMPBELL, CAREY. "SOLOIST PARTICIPATION DURING THE TUTTIS OF EIGHTEENTH-CENTURY WOODWIND CONCERTOS." Eighteenth Century Music 7, no. 1 (January 21, 2010): 63–79. http://dx.doi.org/10.1017/s1478570609990455.

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ABSTRACTAlthough the common way to perform late eighteenth-century flute or oboe concertos today is for the soloist to rest during tutti passages, this is probably not what most composers had in mind. Recent research has shown that keyboard and violin soloists played an important role as orchestral members during the ritornellos of their concertos, the former providing a continuo part and the latter doubling the orchestral first violins. But what about concertos for flute or oboe? Were these soloists also to play during the tuttis, and if so, what? Primary source evidence (supported by statements in contemporary treatises) reveals that many eighteenth-century composers expected woodwind soloists to participate during all or some orchestral ritornellos. Printed and manuscript parts of the period reveal several types of soloist participation, suggesting that the practice was widespread yet also flexible. Reinstatement of the soloist in the tuttis, performing all of the music that eighteenth-century composers asked them to perform, would alter the way these concertos sound, in turn forcing a change in how they are perceived.

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Gaunt, Helena. "Breathing and the oboe: playing, teaching and learning." British Journal of Music Education 21, no. 3 (November 2004): 313–28. http://dx.doi.org/10.1017/s0265051704005819.

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Breathing and breath control are central to playing the oboe, yet few detailed educational resources are available to support their teaching and learning. This paper presents a review of existing knowledge and expertise in the field. It highlights common ground and points of controversy, and indicates some key areas for consideration. It points to the need for further research to establish both a more detailed picture of the anatomy and physiology of breathing practices in playing and effective teaching and learning strategies.

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Adkins, C. "Review: The Eloquent Oboe: A History of the Hautboy 1640-1760." Music and Letters 84, no. 2 (May 1, 2003): 280–83. http://dx.doi.org/10.1093/ml/84.2.280.

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Kendall, Roger A., and Edward C. Carterette. "Perceptual Scaling of Simultaneous Wind Instrument Timbres." Music Perception 8, no. 4 (1991): 369–404. http://dx.doi.org/10.2307/40285519.

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Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.

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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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Palmer, Peter, Theodor Frohlich, Omar Zoboli, Ivan Monighetti, Alexei Lubimov, Jean-Jacques Dunki, Othmar Schoeck, et al. "Six Elegies for Piano; Pastorale and Rondo for Oboe and Piano; Cello Sonata." Musical Times 136, no. 1828 (June 1995): 313. http://dx.doi.org/10.2307/1004112.

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41

Haynes, Bruce. "Lully and the rise of the oboe as seen in works of art." Early Music XVI, no. 3 (August 1988): 324–38. http://dx.doi.org/10.1093/earlyj/xvi.3.324.

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42

Cleman, Tom, Conrad Beck, and Georg Katzer. "Trio; fur Flote, Oboe und Klavier." Notes 43, no. 1 (September 1986): 187. http://dx.doi.org/10.2307/897873.

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43

Stolper, Daniel. "The Robert Bloom Collection: Solo Works and Chamber Music for Oboe (review)." Notes 58, no. 1 (2001): 186–91. http://dx.doi.org/10.1353/not.2001.0172.

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44

López-Peláez-Casellas, Maria Paz, and Cecilio García-Herrera. "An artistic research proposal from an A/R/TOGRAPHY perspective: a study of Strauss’s oboe concerto." Revista Música Hodie 19 (July 9, 2019): 1–12. http://dx.doi.org/10.5216/mh.v19.54873.

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This article is a contribution to the debate which has been taking place for some years now around the use of artistic research methodologies in conservatories. To be precise, it supports a methodology centred on artistic activity, which is not conditioned by the dictates of science and the need to obtain results. Within this current of thought, we have developed a new methodology of artistic research, a/r/tography, which is adapted from Fine Arts, and is aimed at teachers in music conservatories and makes it possible to simultaneously research, perform and teach a piece of music.

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45

Payne, Anthony. "Britten and the String Quartet." Tempo, no. 163 (December 1987): 2–6. http://dx.doi.org/10.1017/s0040298200023548.

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THAT BENJAMIN BRITTEN already possessed in his early twenties a most astonishing technical assurance has never been in doubt; nor that he commanded a range of feeling and a stylistic integrity which proclaimed a uniquely precocious maturity. So much was evident from early published scores like the Sinfonietta, Phantasy for oboe quartet, Variations on a theme of Frank Bridge, and Our Hunting Fathers. The route by which he had reached this early maturity, however, was not generally known until comparatively recently, and the book which was for decades to remain the most reliable and perceptive guide to his music—the symposium of 1952 edited by Donald Mitchell and Hans Keller—said little about the pre-opus 1 works, or about influences.

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

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47

de Vries, Han, John Downey, Gary Karr, London Symphony Orchestra, and Geoffrey Simon. "John Downey: Declamations; Discourse for Oboe, Harpsichord and String Orchestra; Jingalodeon; Concerto for Double Bass and Orchestra." Musical Times 133, no. 1795 (September 1992): 466. http://dx.doi.org/10.2307/1002386.

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48

Soule, Richard L., Edison Denisov, Sofia Gubaidulina, and Alfred Schnittke. "Sextet for Flute, Oboe, Clarinet and String Trio." Notes 49, no. 4 (June 1993): 1638. http://dx.doi.org/10.2307/899443.

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49

Schreurs, Eugeen. "An Equal Music. Experimenteren met pommers en sackbuts. Een interview met Luk Nielandt." Forum+ 26, no. 3 (November 1, 2019): 72–76. http://dx.doi.org/10.5117/forum2019.3.schr.

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In het onderzoeksproject An Equal Music bestudeerdet hoboïst en docent Luk Nielandt de verbinding tussen oude instrumenten (pommers of schalmeien als voorlopers van de hobofamilie) en nieuwe instrumenten (de moderne hobo). De focus laigt op de professionele rietblazers die de oude instrumenten naar hun hand zetten. Tijdens het onderzoek leerde onder andere Fritz Heller, een gerenommeerd pommerbouwer, aan muzikanten om zelf een pommer te bouwen. Jan De Maeyer en Boudewijn Buckinx componeerden nieuwe muziek voor de oudere instrumenten, waarmeeen intens betrokken musici gaven concerten gavenmet de instrumenten. Het onderzoeksproject liep af in 2017, maar nog steeds exploreert Nielandt tal van nieuwe, onbekende wegen. Eugeen Schreurs, promotor van het onderzoeksproject, gaat in gesprek met Nielandt en trombonist Jan Smets.In his research project An Equal Music, oboist Luk Nielandt has studied the connection between old instruments (pommers or shawms as precursors of the oboe family) and new instruments (the modern oboe). His focus is on the professional reed players who appropriate the old instruments to suit their own purposes. During the research, renowned pommer builder Fritz Heller, among others, taught musicians how to build a pommer for themselves. Jan De Maeyer and Boudewijn Buckinx composed new music for the older instruments, with which the intensely involved musicians gave concerts. The research project ended in 2017, but Nielandt is still exploring many new, unknown paths. Promoter of the research project Eugeen Schreurs will engage in a talk with Nielandt and trombonist Jan Smets.

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Anderson, Martin. "ANTAL DORÁTI: Sette pezzi per orchestra; Night Music for flute and orchestra; American Serenade for strings. Sharon Bezaly (fl), Aalborg Symphony Orchestra, c. Moshe Atzmon. BIS-CD-1099. Duo concertante for oboe and piano; Cinq Pièces pour le hautbois; Notturno and Capriccio for oboe and string quartet; Trittico for oboe and piano. Yeon-Hee Kwak (ob), Chia Chou (pno), Leipzig String Quartet. MDG 603 1126-2." Tempo 57, no. 225 (July 2003): 54–55. http://dx.doi.org/10.1017/s0040298203280256.

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