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1
Widstrand, Alex Christopher. "Lev Konstantinovich Knipper's concerto for bassoon and string orchestra: introduction and critical performing edition." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6338.
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Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In order to facilitate this concerto’s incorporation into the standard bassoon repertoire, the present study has produced the first-available critical edition of the score, piano reduction and solo bassoon part to this concerto. The edition is framed by a concise biography of the composer, including an overview of his various compositional style periods, historical background on the concerto itself and an assessment of its musical contents.
2
Wilson, Jacqueline May. "The Concerto for Bassoon and Low Strings by Sofia Gubaidulina: a performance guide." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1109.
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When Bruno Bartolozzi published his revolutionary treatise New Sounds for Woodwind in 1968, composers worldwide were inspired to create new compositions which incorporated the use extended techniques. Since, extended techniques have become an inevitable requirement of the contemporary performer, becoming more and more common place as time has progressed. However, it seems that Bartolozzi's original complaint and call for change regarding the general pedagogical reluctance to incorporate these techniques into a standard woodwind, or more specifically bassoon, curriculum has been met with continued resistance over the past 42 years. Too often, performers learn extended techniques only when and if they are required to perform them, resulting in a small number of largely self-taught specialized musicians and a large number of performers deficient in and ignorant of an entire genre of repertoire.
Historically, the bassoon has not been overwhelmingly favored by the great composers as a solo instrument, many of whom have preferred to compose concerti and sonatas for the piano, violin or cello, and prefer to focus on the bassoon within the orchestral setting. However, in the post-war era the bassoon has been the recipient of many solo and chamber compositions by extremely celebrated composers such as Luciano Berio (Sequenza XII, 1995), Elliott Carter (Retracing, 2002, Au Quai, 2002), and Sofia Gubaidulina, whose multiple compositions for bassoon have expanded the repertoire significantly.
However, bassoonists whose educational experience has lacked exposure to the modern aesthetic will have considerably more difficulty learning these works, should they develop an interest in performing them. Inexperience with executing extended techniques, atonality, and even comprehension of the scores themselves is often an intimidating and overwhelming endeavor for the perspective performer.
Though composed a mere 30 years ago, the Concerto for Bassoon and Low Strings by Sofia Gubaidulina has already established itself as an essential part of the solo bassoon repertoire, as illustrated by its illustrious performance history. This work, being both of a large magnitude and composed by a celebrated composer, has been met with great enthusiasm in the bassoon community. Certainly, and perhaps more so than any other work in the solo bassoon repertoire, the Concerto for Bassoon and Low Strings is uniquely rich in its formal and narrative structure. Due in part to the work's unique instrumentation, however, performances of this work are rare and almost entirely on the professional level. It is to the benefit of all advanced bassoonists though, that they be aware of and familiar with this work. When studied at the appropriate level, this score has the potential to provide students with a better understanding of 20th Century music, its stylistic components which include atonality, extended techniques, alternative notation, indeterminacy, and, on a broader level, exposure to a work of great musical sophistication and interpretive value.
The challenge, however, lies in the fact that many students have not been exposed to these 20th Century elements thoroughly enough, if at all, to navigate their way through such a demanding work. Additionally, the score contains many ambiguous elements; no program notes are provided, and the key which appears in the preface of the score explains a very limited portion of the non-traditional markings to come. The performer is given little relative guidance. This document will seek to reconcile this deficiency in the form of a manual intended to guide the performer who is largely unfamiliar with or inexperienced in the modern repertoire of the 20th century and the world of extended techniques as they navigate their way through the score. By way of analysis, and performance suggestions this performance guide will endeavor to acquaint prospective performers with the work's unique narrative structure, non-traditional notations and extended techniques in hopes that they might be enthused to embark on educated and interpretive performances of one of the true masterpieces of the solo bassoon repertoire.
3
Ott, Janelle (Bassoonist). "The Concerto for Bassoon by Andrzej Panufnik: Religion, Liberation, and Postmodernism." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849689/.
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The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik's understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popieluszko in 1984. Panufnik's relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik's compositional approach and the expressive qualities inherent in the Concerto for Bassoon.
The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. context of the commission and premiere is also examined. Additionally, the original manuscript and subsequent piano reduction are compared.
Although the Concerto for Bassoon has been subject to formal analysis by several scholars, discussion of the piece is generally contained within a larger discussion of several other compositions, and a comprehensive analysis of the piece has not yet been presented. This document contains a thorough formal analysis of all movements, as well as analysis of Panufnik's compositional style within the context of serialism, postmodernism, and the new Polish school of composition. The Concerto fro Bassoon features several devices common to Panufnik's larger opus, including the se of a common three-note cell, strong contrasts between section and movements, and symmetrical patterns of transposition, metric alteration, dynamic alteration, and registral expansion.
4
Wildey, Sarah Anne. "Historical performance practice in cadenzas for Mozart's concerto for bassoon, K. 191 (186e)." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3404.
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Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen.
Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period.
While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.
5
Spaniol, Douglas E. "The F major bassoon concerto (RTT Schacht 30) of Theodor Von Schacht (1748-1823) /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487949836204228.
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Patronik, Emily. "Concerto for Bassoon and Orchestra by Ellen Taaffe Zwilich:Background, Analysis, and Performance Application." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373995878.
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Payne, Andrew J. "The Development of the Bassoon Idiom as Seen in Three Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1607082064118953.
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Turley, Sarah Leigh. "Richard Strauss's Duett-Concertino a study of the programmatic elements for the performer /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.unt.edu/theses/open/20041/turley%5Fsarah%5Fleigh/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2004.<br>Accompanied by 5 recitals, recorded Feb. 26, 2001, Nov. 12, 2001, Aug. 8, 2002, July 21, 2003, and Oct. 27, 2003. Includes bibliographical references and discography (p. 40-46).
9
Dodd, Raymond H. "Four musical compositions (with accompanying notes) : Prezzo Concertante for symphony orchestra; Concerto for bassoon and chamber orchestra; Sea Gods for 8-part chorus; Improvisation for wind quintet." Thesis, University of Aberdeen, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262477.
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The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) <I>Pezzo Concertante</I> A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) <I>Sea Gods</I> This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) <I>Improvisation</I> for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.
10
Varga, Karlsson Gabriella. "John Williams fagottkonsert The Five Sacred Trees 1. Eó Mugna 2. Tortan : analys av musikaliskt innehåll samt instudering." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2288.
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John Williams är att betrakta som en av giganterna inom den amerikanska filmmusikkompositionen. Förutom filmmusik så har han komponerat ett flertal beställda solokonserter för betydande instrumentalister och orkestrar, däribland The Five Sacred Trees för fagott och symfoniorkester som är skriven för New York Philharmonics 150-års jubileum och denna orkesters solofagottist Judith LeClair. I detta examensarbete analyseras de första två satserna från ett motiviskt, strukturellt och i viss mån harmoniskt perspektiv, samt genomgås hur det kan påverka instuderingsprocessen och författarens interpretatoriska val. Referensmaterialet som används är främst en pianoreduktion av stycket, samt en doktorsavhandling gällande styckets pedagogiska användningsområden av John Michael Lopinto från 2004. Slutsatser efter analysen inkluderar bland annat att de två satserna i stora drag kontrasterar varandra, att konserten innehåller så pass många olika klangkaraktärer att det krävs extra arbete från solistens sida för att kunna framföra denna med endast piano, samt att John Williams kontinuerligt utvecklar motiv från tidigare verk och inkorporerar dem i konserten och har fortsatt att arbeta på detta vis även efter tillkomsten av denna konsert. Min förhoppning är att det här arbetet ökar min egen och omvärldens insikter om denna konsert, och ökar sannolikheten för att detta verk framförs i större utsträckning i framtiden.<br><p>John Williams fagottkonsert, sats 1-2.</p><p>Medverkande: Gabriella Varga Karlsson, fagott</p><p>Georg Öquist, piano</p><p></p><p></p><p></p>
11
Zuniga, Chanto Fernando. "Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op. 26, by Ludwig Milde." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145124.
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This document demonstrates that study and performance of newly-composed versions of four etudes from Ludwig Milde's Concert Etudes, Op. 26 (publ. post. 1935) can prepare advanced bassoon students for performance of not only the etudes themselves (which includes advanced techniques such as rapid single tonguing, double tonguing, difficult slurring, tapering, an execution of complicated scales and arpeggios in the context of a musical passage, half-hole, vibrato, flicking, and control of long notes in extreme registers), but also can be used to address both performing and technical issues not covered in Milde's study, such as the problems posed by ensemble playing, tone-color, and rhythm.The project analyzes a selection of four etudes from the Concert Etudes, Op. 26 in terms of harmony and form, explores the technical difficulties found in each one of them and their possible approaches, and provides arrangements for two bassoons, bassoon and piano, and bassoon quartet, giving the student a new palette of options for the study of the Concert Etudes, Op. 26 and new devices for the improvement of various techniques.
12
Koberstein, Gustavo Herman. "Francisco Mignone's Concertino para clarineta e fagote: A performance edition." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1665.
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Francisco Mignone was born in São Paulo on September 3, 1897 and died on February 19, 1986. A representative of Brazilian Nationalism and one of the most influential national composers, Mignone was active and prolific through his entire life. Few works of Francisco Mignone's late period are known and performed; nevertheless the interest in Mignone's work has been growing. Since many of his works are not published, efforts to discuss and prepare performance editions of his scores are of great importance. The Concertino para clarineta e fagote is representative of Francisco Mignone's last compositional period that, although written using a universal way of treating dissonances, intervals, or different pitch hierarchies, it is very Brazilian in its essence. The present performance edition highlights the human aspect of Mignone's character through an overview of the composer's last compositional period and compositional techniques. This essay contextualizes the Concertino within the composer's career and presents a performance analysis of the piece. It also contains a list of Mignone's works for the bassoon and a list of prizes awarded to the Brazilian composer.
13
Duda, Cynthia M. "The City, The Girls, The Composer…The Phenomenon: Influences on the Performance of Vivaldi’s Bassoon Concertos at The Ospedale della Pietà." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1249490783.
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Duda, Cynthia M. "The city, the girls, the composer--the phenomenon influences on the performance of Vivaldi's bassoon concertos at the Ospedale della Pietà /." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1249490783.
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Thesis (M.Mus.)--University of Akron, School of Music, 2009.<br>"August, 2009." Title from electronic thesis title page (viewed 11/11/2009) Advisor, Brooks A. Toliver; Faculty Reader, Galen S. Karriker; School Director, William K. Guegold; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
15
Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.
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This is a compilation of the music performed at the graduation recital of John
Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were
four pieces performed that afternoon including Azimuth for viola, clarinet and
marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a
Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of
Thomas Gray. Moments is a set of three pieces for woodwind quintet written in
1990. Viola Concerto is in three movements and was written in 1991 for Reg
Quiring, a former U.B.C. student. The concerto is scored for solo viola and
chamber orchestra. A cassette copy of the recital is available with this book.<br>Arts, Faculty of<br>Music, School of<br>Graduate
16
Gillick, Amy Suzanne. "Experimentation and nationalism in Francisco Mignone's works for basson a performance guide to the IInd wind quintet and Concertino /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Schmidt, Johann Christoph. "Motetto Auf Gott hoffe ich: Für Alto-Solo, Coro (Soprano, Alto, Tenore, Basso) und 2 Clarini in D, 2 Trombe in D, Tympani, 2 Flauti allemando, 2 Violini, 2 Viole Fagotto e Basson concertato, Violoncello, Organo, Tiorba: Partitur." Ries & Erler, 2020. https://slub.qucosa.de/id/qucosa%3A74090.
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Die „Denkmäler der Tonkunst in Dresden“ veröffentlichen in sieben Bänden Werke des Dresdner Hofkapellmeisters Johann Christoph Schmidt (1664-1728) aus Hohnstein/Sächsische Schweiz, einem von der Dresdner Musikgeschichtsschreibung vergessenen Komponisten.
Als erster Band erscheint unter der Editionsnummer 22 die Partitur des Motetto „Auf Gott hoffe ich“ für Alt-Solo, Chor und Orchester für 14 Stimmen. Die Ausgabe basiert auf einer Übertragung von Kirchenmusikdirektor Ulrich Meier, Auerbach/Vogtland, die im Rahmen einer Diplomarbeit an der Hochschule für Kirchenmusik Dresden 2001 entstand. Das Werk existiert nur in einer fehlerfreien Abschrift von Johann Sebastian Bach, die dieser vermutlich zwischen 1714 und 1716 offenbar für den eigenen Gebrauch in Weimar angefertigt hat.
18
Mantilla, Morales Gabriela. "Modélisation des transferts de nitrates, confrontation des concepts, des données et des informations : application au bassin de la Charente." Phd thesis, Ecole Nationale des Ponts et Chaussées, 1995. http://pastel.archives-ouvertes.fr/pastel-00569426.
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La modélisation du transfert de nitrates a été étudiée à différentes échelles de bassins versants. Un modèle semi-distribué à pas de temps journalier a été élaboré et testé sur des sous-bassins de la Charente (France). Il prend en compte les transferts d'azote depuis les apports de fertilisants jusqu'à la dénitrification dans le cours d'eau. Le but principal recherché est la simulation de la concentration en nitrates à l'exutoire des bassins versants. Un modèle hydrologique de type conceptuel (GR3) a été choisi et adapté à la simulation du transfert de nitrates. Le modèle conceptuel de lessivage est relié de manière étroite au modèle pluie - débit, tant par les variables d'état que par les paramètres. Le calage a été fait sur les sous-bassins où sont connus, à la fois, les débits et les concentrations. L'utilisation du modèle est ensuite étendue à des bassins sur lesquels on ne dispose que d'un seul de ces deux termes ou bien d'aucun d'entre eux. Le modèle résultant de ces travaux a été appliqué à la fois sur un grand bassin versant d'environ 9500 km2 (la Charente), sur ses stations intermédiaires de suivi de qualité de l'eau et sur un petit sous-bassin expérimental d'environ 5,5 km2 (le Ruiné). Les résultats montrent que le modèle reproduit d'une manière correcte la tendance à long terme des flux. Les variations saisonnières sont bien respectées pour la plupart des stations à défaut de rendre compte de toutes les valeurs isolées. Le comportement de la concentration en nitrates pendant les crues a été étudié sur le Ruiné à un pas de temps horaire. Nous avons observé, dans la relation avec les débits, des formes d'hystérésis analogues à celles qui se présentent avec les matières en suspension, ce qui témoigne de la complexité des phénomènes de lessivage et de transfert dans ce bassin versant. Ces processus ne peuvent être convenablement reproduits à l'heure actuelle, qu'au prix d'une variation des paramètres du modèle qu'il reste encore à expliquer.
19
Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.
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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.
20
Lauzent, Mathilde. "Etude de l’écodynamique des polluants organiques persistants et des micropolluants halogénés d’intérêt émergent dans les milieux aquatiques." Thesis, Bordeaux, 2017. http://www.theses.fr/2017BORD0733/document.
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Les PCB (polychlorobiphényles), PBDE (éthers de biphényles polybromés) et OCP (pesticides organochlorés) sont des composés d’origine anthropique classés comme POP (polluants organiques persistants) dont l’usage a progressivement été restreint ou interdit. Ces composés, de par leur caractère ubiquiste, persistant et bioaccumulable, sont néanmoins toujours présents dans l’environnement, d’où l’importance de continuer à étudier leur présence, leur dynamique et leur impact. Du fait de la restriction de leurs usages, d’autres composés sont maintenant utilisés pour les remplacer, tels que les retardateurs de flamme alternatifs (RFA). Ces composés bromés et chlorés ont des propriétés physico-chimiques comparables à celles des POP précités et peuvent potentiellement constituer un danger chimique pour l’environnement. Par ailleurs, les RFA sont attendus à des niveaux de concentration plus faibles que les PCB et les PBDE que ce soit dans les compartiments biotiques et abiotiques. Ainsi, l’un des enjeux de ce travail de thèse était de développer une méthode multi-résidus, associant chromatographie en phase gazeuse et spectrométrie de masse à temps de vol, permettant d’analyser simultanément 17 RFA à des niveaux inférieurs au ng.g-1. Les niveaux et profils de contamination en POP et RFA ont ensuite été renseignés dans les compartiments biotiques et abiotiques de différents systèmes aquatiques contrastés. Le caractère bioamplifiable de ces composés a été étudié grâce à la détermination de facteurs d’amplification trophique (TMF) dans l’estuaire de la Gironde et dans le bassin du Rhône, à l’aide d’outils statistiques innovants. Dans l’estuaire de la Gironde il a été mis en évidence que certains RFA étaient autant voire plus bioamplifiables que certains POP historiques. Par ailleurs, dans le bassin du Rhône, l’utilisation des TMF comme outil prédictif, pour le BDE-47 ou la ΣPBDE-DCE par exemple, a été discutée et parait envisageable dans un cadre réglementaire<br>PCBs (polychlorinated biphenyls), PBDEs (polybrominated biphenyl ethers) and OCPs (organochlorine pesticides) are anthropogenic compounds classified as POPs (Persistent Organic Pollutants), their use was restricted or prohibited. These compounds are ubiquitous, persistent and bioaccumulative and they are still present in the environment; this is the reason why it is important to continue the study of the fate and impact in the environment. Due to their usage restriction, other compounds are now used to replace them, such as alternative flame retardants (RFAs). These brominated and chlorinated compounds have physicochemical properties comparable to those of POPs and can thus be potentially hazardous to the environment. In addition, RFAs are expected to occur at lower concentrations than PCBs and PBDEs, whether in the biotic and abiotic compartments. Thus, one of the challenges of the present work was to develop a multiresidue method, based on gas chromatography coupled with a time-of-flight mass spectrometer, allowing for the simultaneous analysis of 17 RFAs at levels below ng.g-1. The levels and patterns of POP and RFA contamination were reported in the biotic and abiotic compartments of selected hydrosystems. The biomagnification potential of these compounds was also studied by determining trophic magnification factors (TMF) in the Gironde estuary and in the Rhône basin. In the Gironde estuary, it was shown that some RFA biomagnify as much or more than some historical POPs. Furthermore, in the Rhône basin, the use of TMF for predictive purpose, for BDE-47 or ΣPBDEs-WFD for example, was discussed and found possible
21
Gbur, Bruce Edward. "The bassoon concertos and contrabassoon concerto of Victor Bruns." 2001. http://purl.galileo.usg.edu/uga%5Fetd/gbur%5Fbruce%5Fe%5F200112%5Fdma.
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Cooper, Timothy Patrick. "Concerto for Bassoon and Chamber Orchestra." 2011. http://trace.tennessee.edu/utk_gradthes/964.
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The Concerto for Bassoon and Chamber Orchestra is a three-movement composition for solo bassoon accompanied by an ensemble of modest proportions. This piece is composed in partial fulfillment of the requirements of the degree Master of Music with a concentration in Composition from the University of Tennessee, Knoxville. The Concerto was composed during the 2010-2011 academic year. This paper provides a narrative analysis of the Concerto in terms of the parameters of its musical content, and relationships thereof. In so doing, references are made to related or influential compositions of the last century in respect to genre, style, form, pitch content, rhythm, and orchestration.
23
王怡佳. "Carl Stamitz :Bassoon Concerto in F major." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/21022689265813464601.
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Ying-Ju, Huang, and 黃英如. "The Analysis and Interpretation of Weber''s Bassoon Concerto." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/88703815970946491837.
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碩士<br>輔仁大學<br>音樂研究所<br>91<br>When the bassoonist is asked which are the important classics written for his instrument, two composers spring first to mind: Mozart and Weber. As regards the available editions of the works in question: in the case of Mozart''s K191, the earliest of all his concertos to be regularly heard today, this has recently been issued in a scholarly Urtext edition of the orchestral score in the Neue Mozart Ausgabe.By contrast,neither of the two works for the instrument that we possess by Weber have yet received from an editorial point of view, the attention that they deserve.His Concerto in F major, Op. 75 is frequently performed and is known to every student of the instrument, however it is only generally known today from editions that differ in many points of detail from Weber''s original text.
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Liu, Kung-Ling, and 劉冠伶. "The Interpretation of Eric Ewazen-Concerto for Bassoon and piano." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/55180179371954653480.
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碩士<br>中國文化大學<br>音樂學系碩士班西洋音樂組<br>100<br>The author studies Eric Ewazen's Concerto for Bassoon in this research program.Eric Ewazen is an American composer who composes many contemporary works.We will discuss the backgrounds, musical forms, harmony and performance interpretation of two works that meet the composer’s original ideas and show the personal playing style contemporary.
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CHIA-YU, HSU, and 徐佳瑜. "An analysis and interpretation of Danzi Bassoon Concerto in F Major." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/61605850566983553862.
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碩士<br>國立臺灣藝術大學<br>音樂學系碩士班<br>99<br>Franz Danzi (c.1763-1826) was born in Germany in 1863, the prime time of the Mannheim School. While his father, Innocenzo Danzi (c 1730-98), was the cellist of the Mannheim Festival Orchestra, Franz Danzi showed a great influence of the Mannheim School in his works. The Bassoon Concerto Orchestra in F major is not only one of the most important works in the bassoon repertoire of the Classical Period but also the most popular of all five bassoon concertos written by Danzi.
This paper investigates the life of Franz Danzi based on the information of The New Grove Dictionary of Music and Musicians and the bassoon concertos of Danzi in terms of historical background, instrument development and compositional style. Next, the form, structure and harmony of the concerto in F major are analyzed in order to explore the formation, progression, and the interrelations among movements and motifs of the work. Lastly, recommendations for interpreting the concerto are provided according to the analysis results.
This paper attempts to broaden the horizon of readers in bassoon works of the Classical Period and provide a reference for those who are interested in researching bassoon works in the Classical Period and the life or works of Danzi.
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Fang, TsaiPi, and 蔡碧芳. "The Interpretation of Mozart K.V.191 in bB Major Bassoon Concerto." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/60420025995054390790.
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Ho, Shujung, and 何叔蓉. "The Analysis and Interpretation of Gordon Jacob《Concerto for Bassoon and Strings》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/64293042268722592472.
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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>99<br>Music in the 20th century can be described as a developmental history full of changes, as well as an era of extreme diversity. As composers of most countries were continuously trying to strive for breakthrough and be futuristic, they had thus generated special creative techniques and effects. The British composer Gordon Jacob in the 20th century, however, was not affected by this wave of trend, but remained his personal creative philosophy to create his own style of works. The purpose of this study is to explore the personal creative style of Gordon Jacob’s work “Concerto for Bassoon and Strings” and an attempt to analyze his music in order to interpret the music ideally.
This thesis is divided into four chapters. Chapter 1 is an introduction, explaining the research motivation and scope of this thesis, and listing the reference books, audio information and other reference bases. Chapter 2 is an introduction to the life and creative style of composer Gordon Jacob, and further to understand his creative style and impact through relevant background information. Chapter 3 is an attempt to analyze and interpret the music “Concerto for Bassoon and Strings” , analyze the musical structure, motivation and creative approach, and use the analytical results to serve as the interpretation basis to give the best interpretation in instrumental performances. Chapter 4 is a conclusion.
Through the research and exploration of this thesis, I hope I am able to provide learners of bassoon a deeper understanding and the direction of thinking of Gordon Jacob’s work “Concerto for Bassoon and Strings” , thereby be able to offer a better interpretation in musical performances.
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Li, Sin-Yi, and 李欣怡. "An Analysis and Interpretation of Franz Danzi's Bassoon Concerto in F Major." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/96zws6.
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碩士<br>國立臺灣師範大學<br>音樂學系<br>105<br>This concerto in F major is a remarkably popular music piece among bassoon performers. However, because domestic research on this masterpiece or on Franz Danzi has remained scant, performers who wish to learn more about the composer as well as the “undertone” of the music piece are faced with obstacles. The present study is divided into five sections as follows: Section 1 describes the research motivation and methods; Section 2 uses the Mannheim school (a school to which Danzi belonged) as proof to introduce the composer’s personal history, his music creation techniques, and the development of bassoons; Section 3 analyzes the concerto to identify the elements that make up the music as well as its tone and harmony; and Section 4 presents a music interpretation, in which the music note is studied and the piece is performed (by the author of this study) to generalize the ways to interpret this piece so that it matches the era during which it was made. In addition, special practice methods for this piece are proposed. The results of this study can serve as valuable references for individuals who wish to learn more about Danzi’s music pieces.
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"An Analysis of the Concerto for bassoon and orchestra by Nino Rota." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15869.
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abstract: Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor and Franco Zeffirelli, Rota received distinguished acclaim from several film institutions, professional film reviewers and film music experts for his contributions to the art form. Rota also composed a great deal of diverse repertoire for the concert stage (ballet, opera, incidental music, concerti, symphonies, as well as several chamber works). The purpose of this analysis is to emphasize the expressive charm and accessibility of his concerto in the bassoon repertoire. The matter of this analysis of the Concerto for bassoon and orchestra concentrates on a single concerto from his concert repertoire completed in 1977, two years before Rota's death. The discussion includes a brief introduction to Nino Rota and his accomplishments as a musician and film composer, and a detailed outline of the motivic and structural events of contained in each movement of the concerto. The shape of the work is analyzed both in detailed discussion and by the use of charts, including reduced score figures of excerpts of the piece, which illustrate significant thematic events and relationships. The analysis reveals how Rota uses lyrical thematic material in a consistently, and he develops the music by creating melodic sequences and varied repetitions of thematic material. He is comfortable writing several forms, as indicated by the first movement, Toccata - a sonata-type form; the second movement, Recitativo, opening with a cadenza and followed by a theme and brief development; and the third movement, a theme (Andantino) and set of six variations. Rota's writing also includes contrapuntal techniques such as imitation, inversion, retrograde and augmentation, all creating expressive interest during thematic development. It is clear from the discussion that Rota is an accomplished, well-studied and lyrical composer. This analysis will inform the bassoonist and conductor, and aid in developing a fondness for the Concerto for bassoon and orchestra and perhaps other concert works.<br>Dissertation/Thesis<br>D.M.A. Music 2012
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LIAO, YU-HSUAN, and 廖于萱. "The Analysis and Interpretation ofMozart’s Bassoon Concerto in B-flat, K. 191." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/11249645106065093962.
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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>105<br>Wolfgang Amadeus Mozart(1756-1791) was born in Salzburg. Mozart was an important classical composer of the eighteenth century. Bassoon Concerto in B-flat, K. 191 was the early works of Mozart and he completed in 1774.
The thesis is divided into five chapters. Chapter 1 is “introduction”, including the motivation and methods. Chapter 2 is “composer’s life”, researching the biographical information and composition background. Chapter 3 is “The Analysis of the concerto”, investigating the musical form of each movement, and structural analysis. Chapter 4 is “performance interpretation”, elaborating the performance of personal interpretation. Chapter 5“conclusion”, making a summary from the first four chapters.
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Hsu, An-Chih, and 許安志. "Study of The Bassoon Concerto No. 2, Op. 15 by Victor Bruns." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/91733817773327096188.
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碩士<br>國立臺灣師範大學<br>音樂學系<br>104<br>The life of Victor Bruns (1904-1996) can be broadly divided into 2 parts, early days in Russia and later settlement in Germany. In this thesis, not only we touch base on his work, we also discuss how neo-classicalism influenced his compositions style.
As a bassoon and contra-bassoon performer and composer, he wrote ninety-nine pieces mostly on bassoon Sonatas, concertos, and chamber music as well as six ballets and some symphonies. The "Bassoon Concerto No. 2, Op. 15" was not only one of the important woodwind pieces in Bruns’ work, it was also the first few pieces starting get neo-classicalism.
Before writing this thesis, research on Bruns’ chronology and how the wars and nation reformation had the effects on his works was essential. Once the background and the motive of Bruns’ works were well comprehended, it was easy to do an analysis on the structures of his music pieces. This thesis includes three parts of discussions; it starts with the introduction of Bruns’ life, following by an analysis of Bruns’ music pieces with a complete Bruns’ composing interpretation and personal opinions in the end.
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Sue, Huang Ching, and 黃靖淑. "The Performance Research for C.M.von Weber concerto in F major Op.75 for Bassoon and Piano/ Huang Ching Sue Bassoon Recital." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/22559568492890605498.
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碩士<br>東吳大學<br>音樂學系<br>92<br>The thesis researches this work from the following three parts:the background of creation,he analysis of music and the performance study.
The backgrond of creation includes the history of Bassoon.By the motive,theme structure and harmony three dimensions,the music anaylsis its structure.The performance study is based on the analysis of music,and analyzed by collected CD data.
In conclusion,the anter''s performance is based on those mention above.
Programme
1. G.P.Telemann:Sonata in F minor
2. W.A.mozart:Concerto in bB major for Bassoon and orchestra
K191
3. J.B.Vanhal:Concerto in C major for Bassoon and Orchestra
4. P.Hindemith: Sonata for Bassoon and piano
5. C.M.von Weber: Andante E Rondo Ongarese Op.35
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Chen, Pengchen, and 陳芃蓁. "The Analysis and Interpretation of Gordon Jacob’s work “Concerto for Bassoon and Strings”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/75562144240216923736.
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Chen, Cheng-An, and 陳承恩. "An Analysis and Interpretation of Hummel´s Grand Concerto for Bassoon and Orchestra." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/bsyyve.
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Wang, Shih-Chun, and 王詩淳. "An Analysis and Interpretation of Johann Nepomuk Hummel Bassoon Grand Concerto in F Major." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8b9rh9.
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碩士<br>國立臺南藝術大學<br>音樂學系碩士班<br>106<br>The subject of this paper is An Analysis and Interpretation of Johann Nepomuk Hummel “Bassoon Grand Concerto in F Major”. Hummel's musical works inherit the rigorous music structure of the classical period and combine variety of harmonic, melodic and ornamentation. This unique feature is well-presented in the Hummel “Bassoon Grand Concerto in F Major”.
This paper categorized into five chapters. The first chapter is the introduction which describes the motive and method of the research. The second chapter is the general background information of the composition, describing the characteristics of the biography of composer and Classical music period, in particular, explaining the basic structure of Sonata-form. The third chapter is the analysis of the entire work and focuses on the structure of this composition. The forth chapter is the interpretation of music. The last chapter is the summary of the paper.
Key words: J.N. Hummel, Bassoon, Classical music, Sonata form
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Chen, Yunting, and 陳筠婷. "An Analysis and Interpretation of W. A. Mozart’s Bassoon Concerto in B-flat Major KV191." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/36401269479019787076.
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碩士<br>輔仁大學<br>音樂研究所<br>101<br>There are two stages for discussing Mozart’s life in this essay. The first one is the period from his birth in Salzburg to moving to Vienna. The second stage will focus on the life after he moved to Vienna. Moreover, we are going to introduce the music style during the Classical era, which is the time when Mozart was born as well. Mozart composed lots of masterpieces. The types of his composition are various, including over fifty concertos. (His works of piano concerto are the most typical and famous.) Mozart was influenced by J. C. Bach. Here, we will analyze the style and the change of music form via one of Mozart’s concertos – W. A. Mozart Bassoon Concerto in B-flat Major KV191, which is one of his representative works. Furthermore, we will introduce the background of creating this composition and interpret this work.
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Hsu, Ya-Chu, and 許雅筑. "An Analysis and Interpretation of Andre Jolivet’s Concerto for Bassoon, Strings, Harp and Piano, 1954." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4t6zs5.
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Hsing-Ping, Wang, and 王興蘋. "An Analysis and Interpretation of Johann Nepomuk Hummel Grand Concerto for Bassoon and Orchestra in F Major." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/46347922357721032205.
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碩士<br>輔仁大學<br>音樂研究所<br>97<br>As the bassoon was not a favorite instrument for composers of the 17th century, the surviving bassoon repertoire is scant. Apart from the works by prolific composers, such as A. Vivaldi (1678-1741), G. P. Telemann (1681-1767), and F. Danzi (1763-1826), common bassoon repertoires include the Concerto in B-flat Major, K191 by Wolfgang Amadeus Mozart (1765-1791) in the Classical period; and the Concerto in F Major, Op75 and Andante e Rondo Ungarese, Op. 35 by Carl Maria von Weber (1786-1826) in the Romantic period.
Johann Nepomuk Hummel (1778-1837), a composer, pianist, and educator of the Classical period, wrote the first bassoon concerto in history, his Concerto in F Major. As it is comparable to the above masterpieces, this study will investigate this work in terms of structure, the history of the composer, the background to the composition, the musical style of the period, and the form, rhythm, harmony, and mode employed by the composer. This in-depth study of the work may assist in interpreting the work with more expression and allow bassoonists and fans of bassoon music to better understand and enjoy this work.
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HUANG, HONG-HAO, and 黃宏豪. "An Analysis and Interpretation of Johann Nepomuk Hummel Grand Concerto for Bassoon and Piano in F Major." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/rrxyy9.
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碩士<br>中國文化大學<br>音樂學系<br>105<br>First of all, thought of social background at Hummel and in the history background - Introduction of the form of concerto that in popular at the time introducing the influence of music in classical music after the enlightenment activity, Hummel at that time introducing the Artistic contribution position. On conclusion, music analysis and commentary research Hummel 's Bassoon Concerto in F major.
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Liang, Shih Mi, and 梁詩覓. "An Interpretative Study of the First Movement of Bassoon Concerto in B-flat Major, RV. 504 by Antonio Vivaldi." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/w2yca7.
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碩士<br>國立臺南藝術大學<br>音樂學系碩士班<br>105<br>The interpretative study of this thesis is based on the first movement of Bassoon Concerto in B- flat Major, RV. 504 by Antonio Vivaldi. It categorized into four chapters. The first chapter is an introduction which to explain the motivation, purpose, scope and method of this study. The second chapter introduces the growth and musical career of Vivaldi; further investigating the categories and characteristics of concerti, and explaining the structure of Solo concerto. The third chapter discusses Tutti and Solo parts in Ritornello form. There are four main themes throughout the first movement. Tutti part largely based on the four themes. Solo part developed the main themes or combined into new ones. Same material presents different atmosphere in different key and combinations. The fourth chapter is the conclusion in which providing an overview of this writing.
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Overgaard, David. "Bassoon recital." Thesis, 1993. http://hdl.handle.net/2429/1941.
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Lapierda, Sanmartin Jose Lorenzo. "Bassoon recitals." Thesis, 1994. http://hdl.handle.net/2429/5214.
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Ferrari, Vanessa Kulisek Hakes Roy Wilson Russell Ferrari Christian Rose Christopher. "Selected bassoon concertos written by American composers since 1965." 2007. http://hdl.handle.net/1903/9723.
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Zepp, Jonathan. "Master's thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16612.
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Concerto for bassoon in F major, op. 75 / Carl Maria von Weber -- Sonatine / Alexandre Tansman -- Autumn leaves / Johnny Mercer -- Pent-up house / Sonny Rollins -- Concerto in F major, RV 485 / Antonio Vivaldi -- Three Botticelli pictures / Ottorino Respighi.<br>text
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Tran, Toan. "Master's thesis recital (bassoon)." Thesis, 2014. http://hdl.handle.net/2152/24463.
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Concerto for bassoon and orchestra, op.75 / Carl Maria von Weber -- Concerto in E minor / Antonio Vivaldi -- Parable for solo bassoon / Vincent Persichetti -- Concerto in B-flat major / Wolfgang Amadeus Mozart.<br>text
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Miller, Laura A. "Master's thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16423.
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Concerto in D minor, RV 481 / Antonio Vivaldi -- Parable for solo bassoon, op. 110 / Vincent Persichetti -- Suite concertino in F major, op. 16 / Ermanno Wolf-Ferrari -- Recit et allegro pour basson et piano / Noel-Gallon -- Trio pour piano, hautbois, et basson / Francis Poulenc.<br>text
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Heintzen, Ashely Keesecker Jeff Hertel Johann Wilhelm. "Tracing the development of early classical style The bassoon concerti of Johann Wilhelm Hertel /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-04072006-164934/.
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Treatise (D.M.A.) Florida State University, 2006.<br>Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 67 pages. Includes biographical sketch. Includes bibliographical references.
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Chiu, Wen-Yu, and 邱文瑜. "An Analysis and Interpretation of Bitsch’s Concertino for Bassoon and Piano." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/ghzh3w.
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Huang, Sheng-Yuan, and 黃聖元. "An Analysis and Interpretation of Eugène Bozza’s Concertino for Bassoon and Orchestra." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/gxfusb.
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