Log in

Relevant bibliographies by topics / Oboe music / Journal articles

To see the other types of publications on this topic, follow the link: Oboe music.

Journal articles on the topic 'Oboe music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Oboe music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

12

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

15

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

18

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

19

Wang, Zhuo, Zhenjiang Zhao, and Lujia Wei. "Correlation Analysis between Cultural Differences and Normal Music Perception Based on Embedded Voice Multisensor." Journal of Sensors 2022 (January 10, 2022): 1–9. http://dx.doi.org/10.1155/2022/9248820.

Full text

Abstract:

In order to effectively improve the sense of difference brought by the extracorporeal machine to users and minimize the related derived problems, the implementation based on embedded multisensor has become a major breakthrough in the research of cochlear implant. To explore the impact of different cultural differences on timbre perception, effectively evaluate the correlation between cultural differences and music perception teaching based on embedded multisensor normal hearing, evaluate the discrimination ability of embedded multisensor normal hearing to music timbre, and analyse the correlation between cultural differences and timbre perception, it provides a basis for the evaluation of music perception of normal hearing people with embedded multisensor and the design and development of evaluation tool. In this paper, adults with normal hearing in different cultures matched with music experience are selected to test their recognition ability of different musical instruments and the number of musical instruments by using music evaluation software, and the recognition accuracy of the two tests is recorded. The results show that the accuracy of musical instrument recognition in the mother tongue group is 15% higher than that in the foreign language group, and the average recognition rates of oboe, trumpet, and xylophone in the foreign language group are lower than those in the mother tongue group, the recognition rate of oboe and trumpet in wind instruments was low in both groups, and the recognition rate of oboe and trumpet in foreign language group was high.

APA, Harvard, Vancouver, ISO, and other styles

20

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

25

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

27

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Sutcliffe, W. Dean. "Cayetano Brunetti: Complete Oboe Sextets Gaetano (Cayetano) Brunetti (1744–1798) Il Maniatico Ensemble / Robert Silla (oboe) IBS Classical IBS92021; two discs, 130 minutes." Eighteenth Century Music 19, no. 2 (August 4, 2022): 217–21. http://dx.doi.org/10.1017/s1478570622000033.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

31

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

32

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

34

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

Full text

Abstract:

Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.

APA, Harvard, Vancouver, ISO, and other styles

39

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

40

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Schreiner, Martin, Arthur Berger, Martin Boykan, and David Rakowski. "Quintet for Woodwinds (Flute, Oboe, Clarinet, Horn, and Bassoon)." Notes 56, no. 2 (December 1999): 503. http://dx.doi.org/10.2307/900054.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

46

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

47

Tao, Jin. "PERFORMANCE CHARACTERISTICS of Eugene Goossens’s Concerto for Oboe and Orchestra." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 167–83. http://dx.doi.org/10.34064/khnum1-60.09.

Full text

Abstract:

Statement of the problem. The study of the process of development of the concert style of oboe performance is a relevant area of modern musicology, as evidenced, in particular, by the scientific activity of the International Double Reed Society (IDRS) and works of other researchers on the history of the instrument and its repertoire starting with the second half of the 20 century (Bate, 1975; Bartalozzi, 1967; Reeves & Hooper, 1985; Goossens & Roxburgh, 2001). The concept of “concert oboe” is actualized by V. Martynova (2018, 2019) on the basis of the performance art of the 19th – 20th centuries. As for works for oboe of the early 20th century, in particular by E. Goossens, there are a few studies devoted to the development of modern style of the concert oboe (Del Mar, 1984; Lopez-Pelaez-Casellas & Garcia-Herrera, 2019) and to E. Goossens’s Concerto (Woodworth, 2016). This determines the scientific novelty of this research, which involves genre-style and performance analysis of the Concerto. The purpose of this study is to identify typical genre-stylistic and performance characteristics of E. Goossens’s composition in the context of the development of the concert style of oboe performance. The research methodology is based, first, on the genre and style approach, which is traditional for musicology, in particular, on research on the code of reflexivity (Shapovalova, 2006), and pastoral genre in music (Shapovalova, Chernyavska, Govorukhina & Nikolaievska, 2021). Another methodological dimension is related to the positions of analytical interpretology and principles of performance analysis (Nikolaievska, 2020), which focus on such elements as form-creation, performance dramaturgy, performance poetics. Results and conclusions. The typical genre and stylistic features of E. Goossens’composition refer to the traditions of the romantic concerto (onemovement structure; the presence of a symphonic model of the genre; the use of initial intonation as the main sound symbol of the work; the absence of a single tonal centre; reflexivity; the involvement of pastoral colour as an established image of the instrument). From the viewpoint of performance poetics we have marked the overcoming of the formality of rondeau nature by the continuity of performance form-creation; the presence of such difficulties requiring high performance skills of an oboist as playing of whole-tone scale, high notes and extreme sounds of the registers, polyrhythmic structures, the abundance of virtuoso passages in the composition, the variety of articulation techniques, fast-frequency vibrato, etc., which is crucial in the process of development of the concert style of oboe performance in the early 20th century.

APA, Harvard, Vancouver, ISO, and other styles

48

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

49

Rosen, Jerome, and William Mayer. "Dream's End for Oboe, Clarinet, Horn, Violin, Cello, and Piano." Notes 53, no. 1 (September 1996): 288. http://dx.doi.org/10.2307/900338.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Burgess, Geoffrey, oboist. "Concerto in D Minor, Andre No. 1, for Oboe and Orchestra, and: Concerto in D Minor, Andre No. 1 (arr.), for Oboe and Orchestra, and: Concerto in G Minor, Andre No. 2, for Oboe and Orchestra, and: Concerto in G Minor, Andre No. 2 (arr.), for Oboe and Orchestra, and: Concerto in C Major, Andre No. 3, for Oboe and Orchestra, and: Concerto in C Major, Andre No. 3 (arr.), for Oboe and Orchestra, and: Concerto in B-Flat Major, Andre No. 4, for Oboe and Orchestra, and: Concerto in B-Flat Major, Andre No. 4 (arr.),." Notes 61, no. 4 (2005): 1091–100. http://dx.doi.org/10.1353/not.2005.0050.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!