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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper aligmnent can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information C om pany 300 Nortfi Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Order Number 9325440 Certain oboe techniques and ensemble pedagogy in selected woodwind chamber music of Heitor Villa-Lobos Munger-MacKay, Ailene Annette, D.M.A. The Ohio State University, 1993 Copyright ©1993 by Mimger-MacKay, Ailene Annette. All rights reserved. UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 Certain Oboe Techniques and Ensemble Pedagogy in Selected Woodwind Chamber Music of Heitor Villa-Lobos D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University by Ailene Annette Munger-MacKay, B.M., M.M. ***** The Ohio State University 1993 Dissertation Committee: ApprovedToy William P. Baker James M. Pyne Craig Kirchhoff CoTAgvisers, S'chttodT ojg^usic Copyright by Ailene Annette Munger-MacKay 1993 ACKNOWLEDGEMENTS I express my sincere appreciation to Mr. William P. Baker for his guidance, insight and patience throughout the research. Thanks also go to the other members of my advisory committee. Professor James Pyne and Professor Craig Kirchhoff for their suggestions and comments. I would also like to thank Joao Carlos Junqueina for his help in Portuguese translations. I offer sincere thanks to my husband, Tom, and to my parents, Donna and Bryce for their patience, assistance, and suggestions throughout this entire process. 11 VITA April 21, 1962.............. Born - St. Louis, Missouri 1984....................... B.M., University of Washington, Seattle, Washington 198 6 ....................... M.M., University of Washington, Seattle, Washington 1987 to present.............. The Ohio State University Columbus, Ohio FIELDS OF STUDY Major Field: Music Specialty: Oboe Performance Professor William P. Baker Professor Laila Storch Mr. Stevens Hewitt Bassoon: Professor Christopher Weait Professor Arthur Grossman Conducting: Professor Criag Kirchhoff Professor Richard Byrnes Piano: Professor Neil O'Doan 111 RECITAL DATES Graduate Recital Series Wednesday, June 3, 1987, 8:oo p.m. Hughes Auditorium Ailene Hunger, Oboe Deborah Emery, Piano/Harpsichord This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts PROGRAM Sonata in C minor Amconio Vivaldi Adagio Allegro Andante Allegro Constance Barrett, Continue Suite Française Marcel Bitsch Pavane Gaillarde Gigue Rigaudon Intermission Capriccio Macques Murgier Pavane José Bergmans Impromptu Georges Auric Fantaisie Pastorale, Opus 37 Eugene Bozza IV Graduate Recital Series Monday, July 20, 1987, 8:00 p.m. Weigel Auditorium Ailene Munger, Oboe Deborah Emery, Harpsichord This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts PROGRAM Die Kleine Kammermusik G.P. Telemann Partita No. 1 in B Flat Major Con Affetto Presto Dolce Vivace Aria Allegro Christopher Weait, continue Variations on the Theme "Là ci darem la Mano" from Mozart's "Don Giovanni" for two oboes and English horn Ludwig van Beethoven John Yount, oboe William Baker, English horn Intermission Trio Sonata, No. 2 in d minor G.E. Handel for two oboes Adagio Allegro Affettuoso Allegro John Yount, oboe Christopher Weait, continue Two Little Serious Pieces Silvestre Revueltas Tim Maurer, piccolo Kim Ellis, clarinet Thomas MacKay, trumpet Stacy Dilts, baritone saxophone Graduate Recital Series Friday, April 29, 1988, 8:00 p.m. Hughes Hall Auditorium Ailene Munger, Oboe, Oboe d'amore Deborah Emery, Piano/Harpsichord This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts PROGRAM Concerto for Oboe d'amore in A Major G.P. Telemann Siciliano Allegro Largo Vivace Joan Grumpier, continue Le Tombeau de Mireille Henri Tcanasi John Evans, tambourine Intermission Three Songs Without Words P. Ben-Haim Molto Moderato Ballad Sephardic Melody Sonata Henri Dutilleux Aria Scherzo Final VI Graduate Recital Series Sunday, May 22, 1988, 3:00 p.m. Weigel Auditorium Ailene Munger, Oboe Deborah Emery, Piano This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts PR0GR2Ü1 Trio IV for two Oboes and English Horn Henk Badings Allegro giocoso Canto amoroso Rondino scherzando assisted by William Baker, Oboe John Yount, English Horn Sonata Francis Poulenc Élégie Scherzo Déploration Intermission Obsession Makoto Shinohara Concertante E. Paladilhe Vll ta bl e o f contents ACKNOWLEDGMENTS........................................... 11 VITA/FIELDS OF STUDY.....................................Ill LIST OF FIGURES........................................... Ix PREFACE................................................... xl CHAPTER PAGE I. INTRODUCTION..................................... 1 Importance of Study........................... 4 Research Approach............................. 5 Limitations of the Study........ ........... 6 II. BIOGRAPHICAL SKETCH OF HEITOR VILLA-LOBOS.......... 8 III. MUSIC OF HEITOR VILLA-LOBOS...................... 19 IV. SELECTED TECHNICAL PROBLEMS FOR THE OBOE AND PEDAGOGICAL PROBLEMS FOR THE ENSEMBLE............ 26 Sextour Mystique............................. 28 Trio........................................ 42 Quarter..................................... 55 Quintet in Form of a Chores................... 68 Duo......................................... 84 V. CONCLUSION...................................... 95 APPENDIX CD Discography............................... 97 BIBLIOGRAPHY....................................98 Vlll LIST OF FIGURES FIGURES PAGE 1. Villa-Lobos Sextour Mystique, Allegro non troppo...30 measure 3 2. Villa-Lobos Sextour Mystique, Allegro non troppo, measures 65-76........................... 31 3. Villa-Lobos Sextour Mystique, Allegro non troppo, measures 90-112................ 35 4. Villa-Lobos Trio, Animé, measures 1-29............ 45 5. Villa-Lobos Trio, Animé, measures 40-58........... 47 6. Villa-Lobos Trio, Animé, measures 112-141......... 48 7. Villa-Lobos Trio, Animé, measures 146-163......... 50 8. Villa-Lobos Trio, Animé, measures 178-187......... 51 9. Villa-Lobos Trio, Animé, measure 234.............. 52 10. Villa-Lobos Trio, Animé, measures 39-58........... 53 11. Villa-Lobos Trio, Languisamente, measures 69-87....53 12. Villa-Lobos Quartor, Allegro non troppo, measures 13-14................................... 56 13. Villa-Lobos Quartor, Allegro non troppo, measures 69-77................................... 57 14. Villa-Lobos Quartor, Lent, measures 10-21......... 59 15. Villa-Lobos Quartor, Allegro Molto Vivace, measures 42-44................................... 61 16. Villa-Lobos Quartor, Allegro non troppo, measure 1 ....................................... 62 17. Villa-Lobos Quartor, Allegro Molto Vivace, measure 1 ....................................... 63 ix LIST OF FIGURES CONTINUED 18. Villa-Lobos Quartor, Lento, measures 49-80........ 64 19. Villa-Lobos Quintet, measure 11................... 70 20. Villa-Lobos Quintet, measures 61-92............... 72 21. Villa-Lobos Quintet, measures 108-125............. 74 22. Villa-Lobos Quintet, measures 263-273............. 76 23. Villa-Lobos Quintet, measure 9 ................... 77 24. Villa-Lobos Quintet, measures 17-22............... 78 25. Villa-Lobos Quintet, measures 92-129.............. 78 26. Villa-Lobos Quintet, measure 164..................81 27. Villa-Lobos Quintet, measures 192-200............. 82 28. Villa-Lobos Quintet, measures 201-210............. 83 29. Villa-Lobos Duo, Allegro, measures 82-95.......... 86 30. Villa-Lobos Duo, Allegro vivace, measures 28-29....87 31. Villa-Lobos Duo, Allegro, measures 135-138........ 88 32. Villa-Lobos Duo, Allegro vivace, measures 95-103... 89 33. Villa-Lobos Duo, Lento, measures 65-71............ 91 34. Villa-Lobos Duo, Lento, measures 77-84............ 91 35. Villa-Lobos Duo, Lento, measures 49-51............ 92 36. Villa-Lobos Duo, Lento, measures 59-61............ 93 37. Villa-Lobos Duo, Allegro, measures 1-8............ 93 PREFACE The intended audience for this study ranges from the amateur to the college musician. The pedagogical content can be used by a musical coach or by
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