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ABSTRACT SUMMARY OF DISSERTATION PERFORMANCES THREE PROGRAMS OF OBOE MUSIC by Alex Hayashi Chair: Nancy Ambrose King In lieu of a written dissertation, three recital programs were presented. The three recitals that were given addressed varying focuses in each program – the first recital included a program of all Japanese composers, juxtaposing pieces that are standards in solo oboe repertoire with those that are not performed as often. The second recital consisted of chamber pieces that featured the oboe as a prominent voice. Heinz Holliger was the focal point of the third recital, including pieces that were written by and for the Swiss oboist. Thursday, December 3, 2015, 8:00p.m., School of Music, Theatre & Dance, Stamps Auditorium, University of Michigan. Assisted by: Matthew Thompson, piano; Christina Adams, violin; Janet Lyu, violin; Abigail Choi, viola; Richard Narroway, cello. Program: Akira Nishimura, Karura for oboe solo; Makoto Shinohara, Obsession; Kishio Hirao, Sonate pour hautbois et piano; Michio Kitazume, Reeds Singing a Song for oboe and piano; Toru Takemitsu, Entre-temps for oboe and string quartet. Sunday, February 7, 2016, 7:00p.m., School of Music, Theatre & Dance, Britton Recital Hall, University of Michigan. Assisted by: Chris Fujiwara, oboe; Michael Gieske, bassoon; Lauren Rodewald, contrabass; Caitlyn Koester, harpsichord; Christina Adams, violin; Abigail Choi, viola; Christopher Young, cello; Merryl Monard, flute; Clarissa Osborn, clarinet; Caroline Steiger, horn; Brandon Rumsey, bassoon. Program: Jan Dismas Zelenka, Sonata V in F-dur; Benjamin Britten, Phantasy Quartet for oboe, violin, viola, and violoncello; Joan Tower, Island Prelude for oboe and wind quartet; André Jolivet, Sérénade. Monday, March 28, 2016, 8:00p.m., School of Music, Theatre & Dance, Stamps Auditorium, University of Michigan. Assisted by: Matthew Thompson, piano; Taylor Isberg, clarinet; Christina Adams, violin; Lindzy Volk, viola; Kohei Yamaguchi, contrabass. Program: Heinz Holliger, Sonate; Antal Doráti, Duo Concertante; Luciano Berio, Sequenza VII; Sergei Prokofiev, Quintet. .

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A Systematic Dismantling: Heinz Holliger's
A Systematic Dismantling: Heinz Holliger’s Streichquartett (1973) Kevin Davis “In particular, the String Quartet is an extreme example of a music of effects rather than of 'ideas' in any conventional sense. The result, beginning with frantic high harmonics and ending, some twenty-six and a half minutes later, with the barely perceptible breathing of the players, is music whose expression is always utterly clear and direct, but which seems mechanical in its apparent rejection of the kind of relationships between significant detail and overall shape and perspective through which most music communicates.” – Arnold Whitall, Gramophone, August 1981 Heinz Holliger’s Streichquartett (1973) is a landmark work. It challenges the listener and performer alike, posing many questions and giving only tentative answers. While still obeying the basic rules and conventions of string quartet discourse and notation, it methodically strips away the artifice of performance, working from the inside out. It comes into being in a furious flurry of activity. Organic processes play themselves out to exhaustion, reaching termination less through the end of a compositional process than through something like a loss of entropy; musical form attempts to assert itself and is subsumed in the welter of activity; technique and the instruments themselves become deformed, barely able to retain their identity, threatening to become only the wood and metal from which they are made. Eventually exhaustion is reached, both on the part of composer and, one must assume, on the part of the players. Then something mysterious happens: first, after this inexorable, almost ritualistic revealing of the instrument, then, finally, the body of the performer, which has been residing underneath the sounds all along, emerges.
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THE PROTEAN OBOIST: AN EDUCATIONAL APPROACH TO LEARNING OBOE REPERTOIRE FROM 1960-2015 by YINCHI CHANG A LECTURE-DOCUMENT PROPOSAL Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts May 2016 Lecture Document Approval Page Yinchi Chang “The Protean Oboist: An Educational Approach to Learning Oboe Repertoire from 1960- 2015,” is a lecture-document proposal prepared by Yinchi Chang in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture-document has been approved and accepted by: Melissa Peña, Chair of the Examining Committee June 2016 Committee in Charge: Melissa Peña, Chair Dr. Steve Vacchi Dr. Rodney Dorsey Accepted by: Dr. Leslie Straka, Associate Dean and Director of Graduate Studies, School of Music and Dance Original approval signatures are on file with the University of Oregon Graduate School ii © 2016 Yinchi Chang iii CURRICULUM VITAE NAME OF AUTHOR: Yinchi Chang PLACE OF BIRTH: Taipei, Taiwan, R.O.C DATE OF BIRTH: April 17, 1983 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon University of Redlands University of California, Los Angeles Pasadena City College AREAS OF INTEREST: Oboe Performance Performing Arts Administration PROFESSIONAL EXPERIENCE: Marketing Assistant, UO World Music Series, Eugene, OR, 2013-2016 Operations Intern, Chamber Music@Beall, Eugene, OR, 2013-2014 Conductor’s Assistant, Astoria Music Festival, Astoria, OR 2013 Second Oboe, Redlands Symphony, Redlands, CA 2010-2012 GRANTS, AWARDS AND HONORS: Scholarship, University of Oregon, 2011-2013 Graduate Assistantship, University of Redlands, 2010-2012 Atwater Kent Full Scholarship, University of California, Los Angeles, 2005-2008 iv TABLE OF CONTENTS Introduction ........................................................................................................................
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Composer Brochure
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