Journal articles: 'Oboe with instrumental ensemble'

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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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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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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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Terada, Yoshitaka M., Gayathri Rajapur Kassebaum, Vadya Lahari, and Bob Haddad. "South Indian Instrumental Ensemble." Ethnomusicology 38, no. 3 (1994): 559. http://dx.doi.org/10.2307/852132.

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Boespflug, George. "Popular Music and the Instrumental Ensemble." Music Educators Journal 85, no. 6 (May 1999): 33–37. http://dx.doi.org/10.2307/3399519.

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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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Sachs, Joel, Henry Cowell, and Yvar Mikhashoff. "A Composition for Piano and Chamber Ensemble (Oboe, Clarinet, Bassoon, Violins, Viola, Cello)." Notes 46, no. 4 (June 1990): 1072. http://dx.doi.org/10.2307/941286.

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Jiang, Yiqun. "OPTIMISATION OF CHINESE FOLK INSTRUMENTAL ENSEMBLE LESSONS." Научное мнение, no. 6 (2021): 109–16. http://dx.doi.org/10.25807/22224378_2021_6_109.

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Li, Feng, and Hao Chang. "Music Signal Separation Using Supervised Robust Non-Negative Matrix Factorization with β-divergence." International Journal of Circuits, Systems and Signal Processing 15 (February 22, 2021): 149–54. http://dx.doi.org/10.46300/9106.2021.15.16.

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We propose a supervised method based on robust non-negative matrix factorization (RNMF) for music signal separation with β-divergence called supervised robust non-negative matrix factorization (SRNMF). Although RNMF method is an effective method for separating music signals, its separation performance degrades due to has no prior knowledge. To address this problem, in this paper, we develop SRNMF that unifying the robustness of RNMF and the prior knowledge to improve such separation performance on instrumental sound signals (e.g., piano, oboe and trombone). Application to the observed instrumental sound signals is an effective strategy by extracting the spectral bases of training sequences by using RNMF. In addition, β-divergence based on SRNMF be extended. The results obtained from our experiments on instrumental sound signals are promising for music signal separation. The proposed method achieves better separation performance than the conventional methods.

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

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

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Bergee, Martin J., and Melvin C. Platt. "Influence of Selected Variables on Solo and Small-Ensemble Festival Ratings." Journal of Research in Music Education 51, no. 4 (December 2003): 342–53. http://dx.doi.org/10.2307/3345660.

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With this study, we examined four potential influences on American high school solo and. small-ensemble festival adjudicator ratings—time of day, performing medium (vocal or instrumental), type of event (solo or ensemble), and school size. A total of 7,355 instrumental and vocal events from two consecutive midwestern state solo and ensemble festivals were analyzed. The two festivals, held in 2001 and 2002, employed 75 adjudicators (33 vocal and 42 instrumental). Statistically significant differences were found in the main effects of time of day, type of event, and school size. The averages rating for all events moved toward “Superior” (“I”) as the day progressed. This tendency, found in all size classifications except the largest, was most prevalent among events from mid-size schools. Large-school events received higher average ratings than did small-school events. Although preliminary analyses showed that small-school events were disproportionately held during morning hours, the interaction between time of day and school size was not significant. Significant time-of-day by performing-medium (vocal/instrumental) and type-of-event (solo/ensemble) by performing-medium interactions were found. The two performing media seemed to mirror each others rating patterns. Vocal ensemble events were more likely to receive a superior rating than were vocal solo events, whereas the opposite was true for instrumental events. Similar time-of-day tendencies were found in both festivals, despite almost entirely different adjudicators. Representing a more even mix of public school and college teachers and selected based on different criteria, the 2002 adjudicators awarded significantly more Superior ratings.

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Smolarek, Dariusz. "Instrumental Music Repertoire of the Piarist Ensemble from Podolínec." Roczniki Teologiczne 62, no. 13 (2015): 137–75. http://dx.doi.org/10.18290/rt.2015.62.13-7.

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Fedun, Iryna. "Compositional features of Western Ukrainian traditional instrumental ensemble music." Problems of music ethnology 15 (October 29, 2020): 42–53. http://dx.doi.org/10.31318/2522-4212.2020.15.219359.

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Shumska, Olha, Valerii Oleshko, and Tetiana Oleshko. "PECULIARITIES OF FORMING SKILLS OF PLAYING IN INSTRUMENTAL ENSEMBLE." B U L L E T I N OF OLEKSANDR DOVZHENKO HLUKHIV NATIONAL PEDAGOGICAL UNIVERSITY 42, no. 1 (2020): 191–98. http://dx.doi.org/10.31376/2410-0897-2020-1-42-191-198.

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Boiko, Valentina L., and Sergey G. Chaykin. "The Synthesis of the Traditional and the Innovative as the Main Direction for Mastering Chamber and Ensemble Instrumental Creativity by Mechislav Weinberg in the University Musician Training." Musical Art and Education 7, no. 3 (2019): 79–93. http://dx.doi.org/10.31862/2309-1428-2019-7-3-79-93.

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2019 is declared the Mieczyslaw Weinberg’s year due to the 100th anniversary of the composer’s birth, whose works are rarely heard in concert halls of Russia. This fact stipulated the current paper devoted to Weinberg’s works. The study is intended to contribute to the composer’s profile and to add some pedagogical and performing observations and recommendations. A number of special methods of analysis of musical works (structural, harmonic, etc.) are used in the paper, as well as a system approach to the theoretical insight into the process of integration Weinberg’s chamber and ensemble compositions into the professional musical training. Artist and time, composer and performer, musical and artistic interpretation – these are the categories musical and performing arts deal with. In this paper, we focus on the chamber-instrumental genre and, in particular, Weinberg’s Sonata for violin and piano A-dur op. 37 No. 3 to examine the peculiarities of the composer’s musical language. The article indicates the conditions that are essential to solve the tasks performers often face – comprehension of Weinberg’s chamber and ensemble instrumental works’ inherent features, getting the most complete revealing of musical and artistic imagery of his compositions, defining distinguishing features of ensemble performing. Following the state educational standards in the field of training instrumental musicians to meet high-level proficiency requirements, the authors examine synthesis of tradition and innovation in the composer’s chamber ensemble instrumental works, provide deep analysis of a composition that is recognized as a piece of high aesthetic and ethical value. Thus, the authors believe it to be an appropriate work to contribute to the professional and spiritual growth of everyone who turns to this music, including young musicians engaged in chamber ensemble.

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Carbon, John, Dennis Riley, and Marilyn Hacker. "Five Poems of Marilyn Hacker, Soprano and Chamber Ensemble [Flute, Oboe, Bassoon, Harpsichord, Percussion, Violin, Viola, Violoncello] (1986)." Notes 48, no. 1 (September 1991): 304. http://dx.doi.org/10.2307/941847.

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Mazur D. V. "CRITERIA AND LEVELS OF DEVELOPMENT OF PROFESSIONAL SELF-REFLECTION OF FUTURE LEADER OF AN INSTRUMENTAL BAND." International Journal of Innovative Technologies in Social Science, no. 5(26) (June 30, 2020): 12–18. http://dx.doi.org/10.31435/rsglobal_ijitss/30062020/7132.

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This article examines the state and criteria of development of professional self- reflection of future leaders of an instrumental bands. The qualitative characteristic of levels of development of professional self-reflection is defined and four levels of development of this skill are outlined. The value and role of professional self-reflection of the leader of an instrumental band in the context of collective performance management is disclosed. It is noted that the reflexive method makes it possible to comprehend one’s own and team members’ activities, to predict one’s own actions, to form a new thinking style, to detect and anticipate problems in one’s own professional activities and improve the quality of work. We also believe that professional reflection is a necessary component of the professional education of the future leader of the instrumental ensemble and the cornerstone principle of successful management of any ensemble performance in particular.

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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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Tan, Hwee-San, and J. Lawrence Witzleben. "'Silk and Bamboo' Music in Shanghai. The Jiangnan Sizhu Instrumental Ensemble Tradition." Galpin Society Journal 50 (March 1997): 256. http://dx.doi.org/10.2307/842586.

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Groemer, Gerald, and J. Lawrence Witzleben. ""Silk and Bamboo" Music in Shanghai: The "Jiangnan Sizhu" Instrumental Ensemble Tradition." Asian Folklore Studies 56, no. 1 (1997): 188. http://dx.doi.org/10.2307/1178806.

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Waterhouse, David, and J. Lawrence Witzleben. ""Silk and Bamboo" Music in Shanghai: The Jiangnan Sizhu Instrumental Ensemble Tradition." Notes 54, no. 4 (June 1998): 924. http://dx.doi.org/10.2307/900078.

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Rees, Helen, and J. Lawrence Witzleben. ""Silk and Bamboo" Music in Shanghai. The Jiangnan Sizhu Instrumental Ensemble Tradition." Yearbook for Traditional Music 28 (1996): 208. http://dx.doi.org/10.2307/767823.

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Ferguson, Daniel, and J. Lawrence Witzleben. ""Silk and Bamboo" Music in Shanghai: The Jiangnan Sizhu Instrumental Ensemble Tradition." Asian Music 29, no. 1 (1997): 128. http://dx.doi.org/10.2307/834414.

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Lanina, T. O. "Theoretical Basis of Vocal Ensemble Performance." Musical art in the educological discourse, no. 2 (2017): 46–50. http://dx.doi.org/10.28925/2518-766x.20172.4650.

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The article covers scientific bases of contemporary vocal performing as a specific genre of music culture. The ontological, culturological, communicative and esthetical aspects of ensemble vocal performing are exhaustively presented. The literary works on history and theory of ensemble performing have been analysed. The focus has been placed on ensemble forms of vocal performing and vocal instrumental ensembles. The term ‘ensemble’ has been defined and genre characteristics of contemporary vocal ensemble have been singled out with further analysis of their distinctive structural features and functions. There have been studied the research works dedicated to the organizing methods as one of the professional training forms for students of classical and pedagogical universities. There have been defined the tasks of educational student vocal ensemble as a creative laboratory for the development of skills and vocal ensemble management techniques. The author outlines the prospect of the use of accumulated scientific and practical experience of the vocal ensemble performance in the system of university education in the training of students in vocal performing and musical and pedagogical professions.

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Singletary, Laura, Kimberly VanWeelden, and Virginia Wayman Davis. "General Music Today Music Ideas Series, Viewpoints in Secondary General Music, Article 3, Seeds of General Music in the Secondary Ensemble: Time to Branch Out!" General Music Today 33, no. 2 (October 3, 2019): 61–67. http://dx.doi.org/10.1177/1048371319877888.

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In the third segment of the series, we explore general music behaviors and techniques that may be incorporated into the secondary performing ensemble in order to provide enrichment and depth to performance-focused instruction. Using research-based evidence and ensemble experience in both the choral and instrumental settings, we will discuss methods for incorporating and integrating the general music behaviors of (a) listening, (b) moving, and (c) singing into the ensemble experience within traditional rehearsal techniques and practices. The focus will be placed on the experience of these practices as they relate to performance goals, in contrast to the typical general music experience of these behaviors where they are the primary goal. Techniques and resources will be applicable in a variety of secondary ensemble settings.

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Cheung, Anson H., Michael E. Mann, Byron A. Steinman, Leela M. Frankcombe, Matthew H. England, and Sonya K. Miller. "Comparison of Low-Frequency Internal Climate Variability in CMIP5 Models and Observations." Journal of Climate 30, no. 12 (June 2017): 4763–76. http://dx.doi.org/10.1175/jcli-d-16-0712.1.

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Low-frequency internal climate variability (ICV) plays an important role in modulating global surface temperature, regional climate, and climate extremes. However, it has not been completely characterized in the instrumental record and in the Coupled Model Intercomparison Project phase 5 (CMIP5) model ensemble. In this study, the surface temperature ICV of the North Pacific (NP), North Atlantic (NA), and Northern Hemisphere (NH) in the instrumental record and historical CMIP5 all-forcing simulations is isolated using a semiempirical method wherein the CMIP5 ensemble mean is applied as the external forcing signal and removed from each time series. Comparison of ICV signals derived from this semiempirical method as well as from analysis of ICV in CMIP5 preindustrial control runs reveals disagreement in the spatial pattern and amplitude between models and instrumental data on multidecadal time scales (>20 yr). Analysis of the amplitude of total variability and the ICV in the models and instrumental data indicates that the models underestimate ICV amplitude on low-frequency time scales (>20 yr in the NA; >40 yr in the NP), while agreement is found in the NH variability. A multiple linear regression analysis of ICV in the instrumental record shows that variability in the NP drives decadal-to-interdecadal variability in the NH, whereas the NA drives multidecadal variability in the NH. Analysis of the CMIP5 historical simulations does not reveal such a relationship, indicating model limitations in simulating ICV. These findings demonstrate the need to better characterize low-frequency ICV, which may help improve attribution and decadal prediction.

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Burnard, Pamela, and Tatjana Dragovic. "Characterizing Communal Creativity in Instrumental Group Learning." Departures in Critical Qualitative Research 3, no. 3 (2014): 336–62. http://dx.doi.org/10.1525/dcqr.2014.3.3.336.

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Situated broadly within the field of secondary (high) school education, and with a specific focus on the subject area (and extra-curricular educational setting) of instrumental music education, this essay provides evidence of the meaning of communal creativity as it arises in three interrelated practices: creative learning practice, creative teaching practice, and creative teacher leadership practice. This article reports on how learning is enhanced by experiences of communal creativity as illustrated in the case of a particular instrumental ensemble called Percussion 1. Findings support the specific nature of communal creativity, expressed in terms of embodiment, immersion, enhancement, and empowerment, and constituted socially (made manifest in a social context) through activity. Communal creativity has the potential to transform the experience of instrumental group learning with regard to the pedagogical values that aim to engage the whole community of learners.

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Helton, Benjamin C. "The phenomenon of adults relearning instrumental music in an American wind band." International Journal of Music Education 38, no. 1 (August 19, 2019): 66–78. http://dx.doi.org/10.1177/0255761419869137.

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As the world’s population continues to grow older, retired individuals seek out musical experiences. Many of these musicians are returning to playing in a wind band for the first time in decades, so they are, in essence, beginners again. The learning experiences of adults of returning to band contains both physical and social barriers but returning beginners are often able to overcome individual difficulties to find meaning and enjoyment in an activity they gave up many years ago. Twelve returning beginners from a New Horizons Band were interviewed and their experiences were analyzed through hermeneutic phenomenology to explore relearning an instrument through participation in an American wind band. Five themes emerged through the analysis: return of ability, awareness of physical change, consciousness of ability, continual progress, and ensemble concerns. These themes consisted of both individual and social components within the essence of returning to instrumental music through an American wind band. The essence of returning to band can help community ensemble directors derive pedagogical strategies and consider specific factors that could contribute to the adult music learning process.

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Rakochi, Vadym. "Mutual Influence of The Orchestra and Concerto Principle in The 16th – First Half of The 17th Centuries." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 49–63. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233112.

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The interaction between the evolution of the orchestra and the concerto at the end of the late 16th — first half of the 17th centuries has been considered. Three levels of interaction are revealed. The first one is the basso continuo. There is little attention paid to the importance of this technique for the formation of the orchestra: the impact on the formation of instrumentalists’ collectives through the appearance of a homophonic way of presentation; combining different forces of sound of instruments; strengthening the bass line as a solid foundation for the entire vertical structure. The second level is the concerto principle. It is emphasized that during the 16th century the concerto meant ―ensemble‖ of any configuration. The strengthening of the instrumental component in the works of M. Uccellini, I. Baccusi, A. and J. Gabrieli, A. Banchieri had an impact on the transformation of the concerto principle. Initially, the principle appeared through the opposition of pitches and density of texture, eventually extends to the comparison of instrumental, mixed vocal-instrumental and vocal groups, thus stimulating contrast in the middle of an instrumental groups such as ensemble and orchestra. The third level of the interaction is embodied in the genre of madrigal (C. Monteverdi). It seems that the release of instruments, the diversification of their functions, the rejection of the permanent exact duplications and the increased role of the timbre obviously require an instrumental body as a stable structure for the implementation of all above mentioned. The development of musical instruments, the diversification of their functions, the use of sinfonia and ritornellos in the choral composition became a driven force for the modification of the concerto principle resulted in the intensification of the competitive origin in the orchestra with each decade. All the above encourages to revise the depth of interaction between the orchestra and concerto. The orchestra as an organized and multi-instrumental collective, designed to exhibit music beyond the church or theatrical genres, becomes the institutional basis for the embodiment of the concerto principle in a particular genre of the instrumental concerto.

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Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.

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Prelovšek, Anita. "Musical Practices in the Funeral Context: A Case Study of Cemeteries in the Ljubljana Region in 2016." Musicological Annual 53, no. 1 (June 23, 2017): 217–41. http://dx.doi.org/10.4312/mz.53.1.217-241.

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In Ljubljana and in its surroundings the music at a traditional funeral still consists usually of a vocal ensemble or a trumpet, but in 2016 this has increasingly tended to be replaced by a girl’s vocal and instrumental ensemble. The choice of music depends largely on the wishes of the relatives of the deceased. Folk music predominates, followed by popular music; the music requested least is classical music. The most frequently performed songs of the year 2016 were: Gozdič je že zelen, Lipa zelenela je and Nearer my God to Thee.

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Kinney, Daryl W. "Selected Nonmusic Predictors of Urban Students’ Decisions to Enroll and Persist in Middle and High School Music Ensemble Electives." Journal of Research in Music Education 67, no. 1 (November 8, 2018): 23–44. http://dx.doi.org/10.1177/0022429418809972.

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The purpose of this study was to fit theoretical models of prediction to urban students’ decisions to enroll and persist in music ensembles using academic achievement, socioeconomic status (SES), number of parents/guardians at home, mobility, ethnicity, and sex as explanatory variables. Through multinomial logistic regression, I built predictive models for initial enrollment (i.e., 6th grade) and retention (8th and 10th grades) in band, string, and choir electives. At each grade level, predictive models supported differentiation between band, string, and choir students from nonmusic students on most factors as well as differences between instrumental and choir students. Choir students were differentiated from instrumental students in terms of academic achievement, SES, family structure, and mobility. These factors revealed more congruence with the population of nonmusic students than instrumental students. Factors influencing initial enrollment in band, string, and choir remained relatively stable over retention models, with notable exceptions: SES became a weaker predictor of band enrollment in high school, whereas number of parents/guardians at home became more salient for this group. All music participation was predicted by academic achievement; however, this was evidenced only in reading test scores for choir participants, whereas math and reading achievement predicted enrollments in instrumental music electives.

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Stauffer, Sandra L. "Connections between the Musical and Life Experiences of Young Composers and Their Compositions." Journal of Research in Music Education 50, no. 4 (December 2002): 301–22. http://dx.doi.org/10.2307/3345357.

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The case-study records of six sixth-grade composers were examined for evidence of connections between the music and life experiences of the students and compositions they wrote. Analysis revealed rich and varied connections between the students' contexts and their music. Idiomatic writing related to instrumental and ensemble experiences was present in their works, and links between instrumental fluency and fluency in composing became evident. Familiar melodies from instrumental experiences, films, and television served as starting points for compositions. Social and cultural cues related to other media as well as to school and home life were also evident in compositions. Findings suggest that young composers draw on their sociocultural milieu and personal experiences to create music that is relevant and meaningful to them.

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Smith, Tawnya D., Karin S. Hendricks, Ronald P. Kos, and Andrew Goodrich. "Balancing String Instruction in an Instrumental Lab Setting: An Intrinsic Evaluative Case Study." String Research Journal 11, no. 1 (July 2021): 19–38. http://dx.doi.org/10.1177/19484992211020735.

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There is an expected increase in the need to provide adequate string-specific training for non-string specialists in the future and for preservice music teachers to develop the requisite pedagogical content knowledge to teach a variety of instruments. A multiyear instrumental lab ensemble university course was designed to help preservice music teachers integrate knowledge and skills in various instrument- and ensemble-specific areas. The purpose of this intrinsic evaluative study was to determine the extent to which the new course was successful toward these aims. Data included interviews of students and instructors, observations of lab classes, and reflective journals of teaching faculty and two external observers. Data were coded and then analyzed using the program goal statements found in the course syllabus. Findings indicated that students considered the lab format more authentic to their teacher preparation than their previous coursework, and that performance and pedagogy skills on secondary instruments elevated more rapidly than anticipated. Recommendations include the need for more explicit connection between course readings and lab activities, and improved guidelines for course teaching assistants.

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Dziuk, Stacy. "Choosing and Altering Repertoire for the Small Band." Music Educators Journal 104, no. 4 (June 2018): 32–38. http://dx.doi.org/10.1177/0027432118757020.

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Selecting excellent literature for a small or unbalanced band can be challenging, especially if the ensemble is ready to perform literature beyond Grade 2.5. This article describes a process for choosing high-quality repertoire for the small band, focusing on high school/college groups. Also examined is how to analyze and alter pieces to fit the needs and instrumentation of an ensemble without sacrificing technical or musical demands or the composer’s intent. By considering pieces through this lens and understanding basic reorchestration ideas, the instrumental music educator can work with a wealth of available wind band literature.

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Bothe, O., J. H. Jungclaus, D. Zanchettin, and E. Zorita. "Climate of the last millennium: ensemble consistency of simulations and reconstructions." Climate of the Past Discussions 8, no. 3 (June 22, 2012): 2409–44. http://dx.doi.org/10.5194/cpd-8-2409-2012.

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Abstract. Are simulations and reconstructions of past climate and its variability comparable with each other? We assess if simulations and reconstructions are consistent under the paradigm of a statistically indistinguishable ensemble. Ensemble consistency is assessed for Northern Hemisphere mean temperature, Central European mean temperature and for global temperature fields for the climate of the last millennium. Reconstructions available for these regions are evaluated against the simulation data from the community simulations of the climate of the last millennium performed at the Max Planck Institute for Meteorology. The distributions of ensemble simulated temperatures are generally too wide at most locations and on most time-scales relative to the employed reconstructions. Similarly, an ensemble of reconstructions is too wide when evaluated against the simulation ensemble mean. Probabilistic and climatological ensemble consistency is limited to sub-domains and sub-periods. Only the ensemble simulated and reconstructed annual Central European mean temperatures for the second half of the last millennium demonstrates consistency. The lack of consistency found in our analyses implies that, on the basis of the studied data sets, no status of truth can be assumed for climate evolutions on the considered spatial and temporal scales and, thus, assessing the accuracy of reconstructions and simulations is so far of limited feasibility in pre-instrumental periods.

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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (January 2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.

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Forrester, Sommer H. "Music Teacher Knowledge: An Examination of the Intersections Between Instrumental Music Teaching and Conducting." Journal of Research in Music Education 65, no. 4 (November 15, 2017): 461–82. http://dx.doi.org/10.1177/0022429417742124.

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The purpose of this study was to examine the complexities of instrumental music teacher knowledge as they relate to the intersection between instrumental music teaching and conducting, and to explore how participants describe and perceive these intersections. The key research question guiding this study was, How do high school instrumental music teachers describe the intersections between instrumental music teaching and conducting? This study focused on the participants’ ( N = 4) perceptions and descriptions of the intersections between instrumental music teaching and conducting. A multiple-case-study design was used. The central finding of this study suggests that the practice of instrumental music teaching demands a specialized form of knowledge that reflects the integration of, rather than the intersection between, both teaching and conducting. This specialized form of knowledge informs the participants’ in-the-moment decision making, judgments, decisions, and communication with students and the ensemble as a whole. The findings of this study suggest implications for music teacher education and conducting education, specifically in the areas of devising professional development opportunities that are systematic, multilevel, and multifaceted and that mirror the integrated nature of teaching and conducting that occurs in practice.

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Rawlings, Jared R. "Benefits and Challenges of Large-Ensemble Instrumental Music Adjudicated Events: Insights From Experienced Music Teachers." Update: Applications of Research in Music Education 37, no. 2 (May 30, 2018): 46–53. http://dx.doi.org/10.1177/8755123318777824.

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Adjudicated events, including music festivals, contests, and competitions, are performance opportunities for American instrumental music programs. The purpose of this study was to examine the benefits and challenges of participating in large-group instrumental adjudicated events in three Kansas high school programs. Data analysis followed cross-case procedures for coding data, as well as strategies for trustworthiness. Select findings revealed that participants (a) valued the process of preparing for adjudicated events, (b) valued and sought out additional instructional staff as a means of enriching the process of preparation for adjudicated events, (c) identified multiple logistical challenges associated with preparing for and attending adjudicated events, and (d) identified music considerations associated with attending large-group adjudicated events. These are likely pivotal factors in attending adjudicated events and thus can help us further understand how and why adjudicated events hold an important place in the history of American music education.

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Roseth, Nicholas E. "A Survey of Secondary Instrumental Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space in Colorado and Indiana." Journal of Research in Music Education 68, no. 3 (September 1, 2020): 305–27. http://dx.doi.org/10.1177/0022429420944227.

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The purpose of this study was to survey secondary band and orchestra teachers ( N = 436) in Colorado and Indiana regarding their self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Immediacy “refers to nonverbal teacher behaviors which increase nonverbal interaction with students and which communicate closeness.” Female teachers and teachers of young ensembles reported higher levels of overall immediacy. Among component immediacy behaviors, teachers reported using proximity-related behaviors the least; females reported using proximity behaviors at higher rates than males. The majority of teachers reported using “closed” ensemble setups (i.e., setups that limit teacher movement among students) and remained in these setups for the majority of the school year. Teachers of young ensembles reported greater use of “opened” setups (i.e., setups that help facilitate teacher movement among students). Although teachers reported spending the majority of rehearsal time on the podium, female teachers, teachers of young ensembles, and teachers who used opened setups reported less time on the podium and more time moving among students. Implications for immediacy, ensemble setup, and teacher use of space in music education are discussed.

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45

Heuser, Frank. "Ensemble-based instrumental music instruction: dead-end tradition or opportunity for socially enlightened teaching." Music Education Research 13, no. 3 (September 2011): 293–305. http://dx.doi.org/10.1080/14613808.2011.603043.

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Blain, Martin. "Issues in instrumental design: The ontological problem (opportunity?) of ‘liveness’ for a laptop ensemble." Journal of Music, Technology and Education 6, no. 2 (August 1, 2013): 191–206. http://dx.doi.org/10.1386/jmte.6.2.191_1.

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Polk, Keith. "Instrumental music in the urban centres of Renaissance Germany." Early Music History 7 (October 1987): 159–86. http://dx.doi.org/10.1017/s0261127900000577.

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Modern scholarship about Renaissance instrumental music has suffered from a scarcity of musical sources. Consequently current research efforts often seem to operate in the manner of archaeological excavations; at times it is only as one layer is painstakingly uncovered that the configurations of another are revealed. This was certainly the experience of this contribution, which began as an investigation into late fifteenth-century Italian instrumental practices. The early phases of the Italian study involved sifting through many archival documents, and one initial miscellaneous impression was that German players frequently appeared in Italian ensembles. Pursuit of this almost casual observation led first to an awareness that German presence in Italy was substantial, then, further, to the fact that the oltramontani dominated aspects of instrumental music. This knowledge of the German contribution led, in turn, to a substantial reappraisal of the formative stages of ensemble performance practices.

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Corcoran-Tadd, Athena. "Impuls Festival, Graz. Collaboratory with Stefan Prins." Tempo 71, no. 281 (June 21, 2017): 90–91. http://dx.doi.org/10.1017/s0040298217000341.

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Impuls, the International Ensemble and Composition Academy for Contemporary Music, has in the past offered a workshop that deviates from the main activities of instrumental classes and ensemble work, composition classes, lectures, and call-for-score reading sessions, taking the form of an intensive course which plays with the grey areas between composer and performer, performance and installation, cochlear and non-cochlear music. In 2017, with the Academy now in its tenth edition, the focus of this workshop moved from ‘Composition Beyond Music’, led in recent years by Peter Ablinger (2013) and by Georg Nussbaumer (2015), to ‘Collaboratory’, a new workshop led by Belgian composer/performer Stefan Prins, imagined in collaboration with Ute Pinter, the festival's secretary general.

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Davis, Virginia Wayman, Laura Singletary, and Kimberly VanWeelden. "General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles." General Music Today 33, no. 1 (March 29, 2019): 6–14. http://dx.doi.org/10.1177/1048371319839112.

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In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.

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Sundberg, R., A. Moberg, and A. Hind. "Statistical framework for evaluation of climate model simulations by use of climate proxy data from the last millennium – Part 1: Theory." Climate of the Past 8, no. 4 (August 27, 2012): 1339–53. http://dx.doi.org/10.5194/cp-8-1339-2012.

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Abstract. A statistical framework for comparing the output of ensemble simulations from global climate models with networks of climate proxy and instrumental records has been developed, focusing on near-surface temperatures for the last millennium. This framework includes the formulation of a joint statistical model for proxy data, instrumental data and simulation data, which is used to optimize a quadratic distance measure for ranking climate model simulations. An essential underlying assumption is that the simulations and the proxy/instrumental series have a shared component of variability that is due to temporal changes in external forcing, such as volcanic aerosol load, solar irradiance or greenhouse gas concentrations. Two statistical tests have been formulated. Firstly, a preliminary test establishes whether a significant temporal correlation exists between instrumental/proxy and simulation data. Secondly, the distance measure is expressed in the form of a test statistic of whether a forced simulation is closer to the instrumental/proxy series than unforced simulations. The proposed framework allows any number of proxy locations to be used jointly, with different seasons, record lengths and statistical precision. The goal is to objectively rank several competing climate model simulations (e.g. with alternative model parameterizations or alternative forcing histories) by means of their goodness of fit to the unobservable true past climate variations, as estimated from noisy proxy data and instrumental observations.

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Journal articles on the topic 'Oboe with instrumental ensemble'

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