DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UNIVERSITY OF CINCINNATI DATE: May 23, 2003 I, Leanna Booze , hereby submit this as part of the requirements for the degree of: Doctor of Musical Arts in: Oboe Performance It is entitled: The Overlooked Repertory: Twentieth-Century French Oboe Etudes Approved by: Mark Ostoich William Winstead Lizabeth Wing THE OVERLOOKED REPERTORY: TWENTIETH-CENTURY FRENCH OBOE ETUDES A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Performance Studies of the College-Conservatory of Music 2003 by Leanna Booze B.M., Vanderbilt University, 1997 M.M., San Francisco Conservatory of Music, 1999 Committee Chair: Dr. Mark S. Ostoich ABSTRACT At one time or another, every collegiate oboe student has toted the thick, yellow Barret Oboe Method, the bible of oboe study, to his or her lesson. Surveys of teachers in the United States reveal that this is the most commonly used etude book, even though it was first published in 1850 for an oboe with key work different than our modern one. Barret’s Oboe Method is part of a tradition of pedagogical materials that have been generated by oboe professors and students at the Paris Conservatory. When oboists travelled from Europe to fill positions in U.S. Orchestras in the early twentieth-century, this etude tradition was transplanted but did not grow, even though it continued in France. Because teachers in the United States lost touch with twentieth-century French etude output, these valuable studies never became a part of mainstream American pedagogy. If American teachers continue to rely heavily on the nineteenth-century etudes that were passed down to them, then potentially valuable twentieth-century etudes could be lost to future students. In order to avoid such a calamity, I have made the case for resuscitating these overlooked gems. Chapter One provides a brief history of the etude tradition in France from the seventeenth through the nineteenth centuries. Seventeenth- and eighteenth-century tutors cater to an amateur audience with collections of simple tunes. Nineteenth-century methods and etudes reflect a more specialized audience with their progressive nature, and demonstrate the latest mechanical developments of the oboe. Chapter Two traces the twentieth-century etudes that were produced in France but not transferred to the United States. These etudes reflect developments in twentieth-century music, and satisfy the need to equip oboists for difficult orchestral repertoire. Chapter Three ties twentieth-century French etudes to the preparation of standard orchestral excerpts. Many oboe students in the United States plan to seek orchestral jobs, and these pedagogical materials may be used to prepare them for orchestral auditions. That the most prevalent etudes in use today were written for the oboe in different stages of mechanical development is troubling, and I hope to remedy this situation by exposing other options. ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Mark Ostoich, and my reading committee, William Winstead and Lizabeth Wing, for their support and assistance. I wish to thank my family for their continued encouragement and my friends, especially Jeremy Blanden, Amanda Roggero, Kate Bolton, and Brian Cook, for their enthusiastic support. I am extremely grateful to Amber Cook, who served as my most valuable reader and continually offered emotional support and wise advice. Finally, I would like to express my gratitude to my former teacher John de Lancie, who provided the inspiration for this paper. 1 CONTENTS LIST OF FIGURES . 2 INTRODUCTION . 6 Chapter 1. HISTORICAL SKETCH OF OBOE ETUDES . 8 Seventeenth- and Eighteenth-Century Tutors Nineteenth-Century Methods Oboe Methods and Etudes at the Paris Conservatory Conclusion 2. THE TWENTIETH-CENTURY ETUDE TRADITION . 36 Influence of Georges Gillet Discontinuity in the United States Twentieth-Century Pedagogical Materials Associated with Paris Conservatory Conclusion 3. THE APPLICATION OF ETUDES TO ORCHESTRAL EXCERPTS . 70 Rhythm Articulation Finger-Technique Conclusion CONCLUSION . 112 BIBLIOGRAPHY . 113 Appendix . 120 2 LIST OF FIGURES Figure Page 1. Ravel, Le Tombeau de Couperin, movement 1 . 74 2. Debondue, Vingt-Cinq Études, No. 11 . 75 3. Debondue, Vingt-Cinq Études, No. 19 . 75 4. Debondue, Vingt-Cinq Études, No. 7 . 75 5. Debondue, Vingt-Cinq Études, No. 15 . 76 6. Lamorlette, Douze Études, No. 6 . 76 7. Debondue, Douze Études, No. 7 . 77 8. Debondue, Douze Études, No. 5 . 77 9. Ravel, Le Tombeau de Couperin, movement 1 . 77 10. Debondue Trente-Deux Études, No. 15 . 78 11. Debondue, Trente-Deux Études, No. 16 . 78 12. Debussy, La Mer, movement 2 . 78 13. Debondue, Vingt-Cinq Études, No. 11 . 79 14. Debondue, Vingt-Cinq Études, No. 5 . 80 15. Debussy, La Mer, movement 2 . 80 16. Loyon, Trente-Deux Études, No. 24 . 80 17. Ravel, Le Tombeau de Couperin, movement 2 . 81 18. Beethoven, Symphony No. 7, movement 1 . 82 19. Handel, Rinaldo, Overture . 82 20. Loyon, Trente-Deux Études, No. 11 . 82 21. Debondue, Vingt-Cinq Études, No. 12 . 83 3 22. Mendelssohn, Symphony No. 3, movement 2 . 83 23. Schubert, Symphony No. 9, movement 2 . 84 24. Rossini, Italian in Algiers, Overture . 84 25. Berlioz, The Damnation of Faust, Menuet des Follets . 84 26. Loyon, Trente-Deux Études, No. 21 . 85 27. Debondue, Trente-Deux Études, No. 11 . 85 28. Lamorlette, Douze Études, No. 12 . 85 29. Ravel, Le Tombeau de Couperin, movement 4 . 86 30. Beethoven, Symphony No. 3, movement 4 . 86 31. Stravinsky, Petroushka, Russian Dance . 86 32. Loyon, Trente-Deux Études, No. 29 . 87 33. Debondue, Trente-Deux Études, No. 9 . 87 34. Debondue, Douze Études, No. 10 . 88 35. Tchaikovsky, Symphony No. 4, movement 3 . 88 36. Debondue, Vingt-Cinq Études, No. 14 . 89 37. Lamorlette, Douze Études, No. 11 . 89 38. Strauss, Don Juan . 90 39. Rossini, Italian in Algiers, Overture . 90 40. Debondue, Vingt-Cinq Études, No. 2 . 90 41. Debondue, Vingt-Cinq Études, No. 16 . 91 42. Debussy, La Mer, movement 2 . 91 43. Rimsky-Korsakov, Scheherazade, movement 2 . 91 44. Rossini, Italian in Algiers, Overture . 91 4 45. Rossini, La Gazza Ladra, Overture . 92 46. Loyon, Trente-Deux Études: No. 22 . 92 47. Loyon, Trente-Deux Études, No. 10 . 92 48. Loyon, Trente-Deux Études, No. 17 . 93 49. Debondue, Douze Études, No. 8 . 93 50. Debondue, Douze Études, No. 9 . 93 51. Debondue, Douze Études, No. 11 . 94 52. Smetana, The Bartered Bride, Overture . 94 53. Mozart, Symphony No. 41, movement 4 . 94 54. Rossini, La Gazza Ladra, Overture . 95 55. Mendelssohn, Symphony No. 3, movement 2 . 95 56. Beethoven, Symphony No. 6, movement 3 . 95 57. Debondue, Trente-Deux Études, No. 10 . 96 58. Debondue, Trente-Deux Études No. 13 . 96 59. Lamorlette, Douze Études, No. 6 . 96 60. Loyon, Trente-Deux Études, No. 32 . 97 61. Rossini, La Scala di Seta, Overture . 97 62. Mendelssohn, Symphony No. 3, movement 2 . 98 63. Stravinsky, Petrouchka . 98 64. Smetana, The Bartered Bride, Overture . 98 65. Berlioz, The Damnation of Faust, Menuet des Follets . 99 66. Handel, Rinaldo, No. 29, Sinfonia . 99 67. Debondue, Vingt-Cinq Études, No. 24 . 100 5 68. Lamorlette, Douze Études, No. 12 . 100 69. Lamorlette, Douze Études, No. 10 . 101 70. Debondue, Douze Études, No. 10 . 101 71. Debondue, Trente-Deux Études, No. 3 . 102 72. Loyon, Trente-Deux Études, No. 13 . 102 73. Mussorgsky, Pictures at an Exhibition, Tuileries . 103 74. Verdi, Otello . 103 75. Mendelssohn, Symphony No. 3, movement 2 . 103 76. Debondue, Trente-Deux Études, No. 28 . 104 77. Debondue, Trente-Deux Études, No. 6 . 104 78. Debondue, Trente-Deux Études, No. 5 . 105 79. Debondue, Vingt-Cinq Études, No. 22 . 105 80. Loyon, Trente-Deux Études, No. 5 . 106 81. Loyon, Trente-Deux Études, No. 23 . 106 82. Lamorlette, Douze Études, No. 4 . 107 83. Strauss, Don Juan . 107 84. Lamorlette, Douze Études, No. 6 . 108 85. Loyon, Trente-Deux Études, No. 1 . 108 86. Lamorlette, Douze Études, No. 5 . 109 87. Loyon, Trente-Deux Études, No. 10 . 109 88. Ravel, Piano Concerto, movement 1 . 109 89. Lamorlette, Douze Études, No. 11 . 110 90. Loyon, Trente-Deux Études, No. 26 . 110 6 INTRODUCTION At one time or another, every collegiate oboe student has toted the thick, yellow Barret Oboe Method, the bible of oboe study, to his or her lesson. Surveys of teachers in the United States reveal that this is the most commonly used etude book, even though it was first published in 1850 for an oboe with different key work than our modern one. In researching and accumulating etude books, I discovered an abundance of twentieth-century etudes that are virtually neglected by teachers and students. I began to wonder why all of these twentieth- century etudes, which are intended for our modern oboe, are passed over for older ones? Shortly after the development of the oboe in France in the late seventeenth century, instructional books appeared. Over the next 200 years, these evolved from simple tutors to technical method books containing etudes. Since the establishment of the Paris Conservatory in 1793, oboe professors and their students have been active in generating pedagogical materials for oboe. The oboe etudes of Barret, Brod, and Gillet in particular have served as enduring teaching tools at conservatories. When oboists (mainly Gillet students) travelled from Europe to fill positions in U.S. orchestras in the early twentieth century, the etude tradition was transplanted but did not grow, even though it continued in Paris. If American teachers continue to rely so exclusively on nineteenth-century etudes that were passed down to them, potentially valuable twentieth-century etudes could remain in disuse. An understanding of twentieth-century etudes and what they offer is crucial to help complete the picture of available pedagogical materials for oboe.
Recommended publications
  • The Flute Music of Yuko Uebayashi

    The Flute Music of Yuko Uebayashi

    THE FLUTE MUSIC OF YUKO UEBAYASHI: ANALYTIC STUDY AND DISCUSSION OF SELECTED WORKS by PEI-SAN CHIU Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University July 2016 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Thomas Robertello, Research Director ______________________________________ Don Freund ______________________________________ Kathleen McLean ______________________________________ Linda Strommen June 14, 2016 ii ACKNOWLEDGEMENTS Thanks to my flute professor Thomas Robertello for his guidance as a research director and as mentor during my study in Indiana University. My appreciation and gratitude also expressed to the committee members: Prof. Kathleen McLean, Prof. Linda Strommen and Dr. Don Freund for their time and suggestions. Special thanks to Ms. Yuko Uebayashi for sharing her music and insight, and being cooperative to make this document happen. Thanks to Prof. Emile Naoumoff and Jean Ferrandis for their coaching and share their role in the creation and performance of this study. Also,I would also like to thank the pianists: Mengyi Yang, Li-Ying Chang and Alber Chien. They have all contributed significantly to this project. Thanks to Alex Krawczyk for his kind and patient assistance for the editorial suggestion. Thanks to Satoshi Takagaki for his translation on the program notes. Finally, I would like to thank my parents Wan-Chuan Chiu and Su-Jen Lin for their constant encouragement and financial support, and also my dearest sister, I-Ping Chiu and my other half, Chen-Wei Wei, for everything.
  • Applied Anatomy in Music: Body Mapping for Trumpeters

    Applied Anatomy in Music: Body Mapping for Trumpeters

    UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Applied Anatomy in Music: Body Mapping for Trumpeters Micah Holt University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Holt, Micah, "Applied Anatomy in Music: Body Mapping for Trumpeters" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2682. http://dx.doi.org/10.34917/9112082 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. APPLIED ANATOMY IN MUSIC: BODY MAPPING FOR TRUMPETERS By Micah N. Holt Bachelor of Arts--Music University of Northern Colorado 2010 Master of Music University of Louisville 2012 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2016 Dissertation Approval The Graduate College The University of Nevada, Las Vegas April 24, 2016 This dissertation prepared by Micah N.
  • Activities Overview 2018,2019 Success of Rohm Music Friends

    Activities Overview 2018,2019 Success of Rohm Music Friends

    Activities overview 2019 1 Nishinakamizu-cho, Saiin, Ukyo-ku, Kyoto 615-0044, Japan +81-75-331-7710 +81-75-331-0089 https://micro.rohm.com/en/rmf/ INDEX Objective, Detail of Operation, and Outline of the Foundation ………… 1 Directors, Trustees, Advisors and Members of Selection Committee … 2 Activities 2018 …………………………………………………………………………… 3 2019 …………………………………………………………………………… 9 Success of ROHM Music Friends …………………………………………… 15 (In chronological or alphabetical order.) 2019.9 Objective Directors Our foundation aims to contribute to the dissemination and development of the Japanese musical Chairman Ken Sato Chairman Emeritus ROHM CO., LTD. culture through the implementation of and financial support for music activities, and the provision of Managing Director Akitaka Idei Former Director, Member of the Board ROHM CO., LTD. scholarships for music students. Director Nobuhiro Doi President, Chairman of the Board The Bank of Kyoto, Ltd. Tadanobu Fujiwara President, Detail of Operation Chief Executive Officer ROHM CO., LTD. Yukitoshi Kimura Former Commissioner of the National Tax Agency Board Chairman, Zaikyo 1. Organizing music concerts and providing financial support for music activities Koichi Nishioka Journalist Director, Member of the Board ROHM CO., LTD. 2. Providing scholarships for both Japanese music students studying in Japan or abroad and overseas Seiji Ozawa Conductor music students studying in Japan Yasuhito Tamaki Lawyer Midosuji Legal Profession Corporation 3. Collecting, investigating and analyzing material related to music Mazumi Tanamura Guest Professor Tokyo College of Music Specially Appointed Principal Violist Tokyo Metropolitan Symphony Orchestra 4. Supporting overseas music research Shunichi Uchida Former Commissioner of the Consumer Affairs Agency President Kyoto International Conference Center Yasunori Yamauchi President and Editor in Chief The Kyoto Shimbun Newspaper Co., Ltd.
  • Download Article

    Download Article

    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J.
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood

    Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood

    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
  • Heralding a New Enlightenment

    Heralding a New Enlightenment

    Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners.
  • 2019 Round Top Music Festival

    2019 Round Top Music Festival

    James Dick, Founder & Artistic Director 2019 Round Top Music Festival ROUND TOP FESTIVAL INSTITUTE Bravo! We salute those who have provided generous gifts of $10,000 or more during the past year. These gifts reflect donations received as of May 19, 2019. ROUND TOP FESTIVAL INSTITUTE 49th SEASON PArtNER THE BURDINE JOHNSON FOUNDATION HERITAGE CIrcLE H-E-B, L .P. FOUNDERS The Brown Foundation Inc. The Clayton Fund The Estate of Norma Mary Webb BENEFACTORS The Mr. and Mrs. Joe W. Bratcher, Jr. Foundation James C. Dick Mark and Lee Ann Elvig Robert J. Kleberg, Jr. and Helen C. Kleberg Foundation Richard R. Royall V Rose P. VanArsdel SUSTAINERS Blue Bell Creameries, L.P. William, Helen and Georgina Hudspeth Nancy Dewell Braus Luther King Capital Management The Faith P. and Charles L. Bybee Foundation Paula and Kenneth Moerbe Malinda Croan Anna and Gene Oeding Mandy Dealey and Michael Kentor The Gilbert and Thyra Plass Arts Foundation Dickson-Allen Foundation Myra Stafford Pryor Charitable Trust June R. Dossat Dr. and Mrs. Rolland C. Reynolds and Yvonne Reynolds Dede Duson Jim Roy and Rex Watson Marilyn T. Gaddis Ph.D. and George C. Carruthers Tod and Paul Schenck Ann and Gordon Getty Foundation Texas Commission on the Arts Alice Taylor Gray Foundation Larry A. Uhlig George F. Henry Betty and Lloyd Van Horn Felicia and Craig Hester Lola Wright Foundation Joan and David Hilgers Industry State Bank • Fayetteville Bank • First National Bank of Bellville • Bank of Brenham • First National Bank of Shiner ® Bravo! Welcome to the 49th Round Top Music Festival ROUND TOP FESTIVAL INSTITUTE The sole endeavor of The James Dick Foundation for the Performing Arts To everything There is a season And a time to every purpose, under heaven A time to be born, a time to die A time to plant, a time to reap A time to laugh, a time to weep This season at Festival Hill has been an especially sad one with the loss of three of our beloved friends and family.
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014

    The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
  • The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein

    The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein

    THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music.
  • 2018 OSU Saxophone Summit Schedule of Events Seretean Center for the Perfoming Arts January 27-28, 2018

    2018 OSU Saxophone Summit Schedule of Events Seretean Center for the Perfoming Arts January 27-28, 2018

    2018 OSU Saxophone Summit Schedule of Events Seretean Center for the Perfoming Arts January 27-28, 2018 Schedule for Saturday, January 27 1:30 – 2:30 p.m. Summit Registration, OSU Music Lobby 2:30 – 3:20 p.m. Summit Registration, SCPA 123 Dr. Andrew Allen (Midwestern State University) Masterclass Saturday, January 27, 2018, 2:30PM Seretean Center for the Performing Arts – Room 123 Maï Ryo Noda Jacob Black, Oklahoma City University Aria Eugène Bozza AJ Nguyen, Oklahoma State University 3:30 – 4:45 p.m. OSU Saxophone Summit Recital #1, SCPA Concert Hall Alter Ego Georges Aperghis Tent of Miracles Martin Bresnick Geoffrey Deibel, Wichita State University Billie Jacob ter Veldhuis Christopher Barrick, University of Arkansas – Fort Smith Wings Joan Tower Eric Troiano, University of Arkansas String Quartet No. 12, Op.96 “American” Antonin Dvorák Meadowlark Quartet, Wichita State University Robert Hess, soprano saxophone Tyler Burgess, alto saxophone Bobby Kitchen, tenor saxophone Chris Agnew, baritone saxophone 5:00 – 5:50 p.m. Eric Troiano Masterclass, SCPA 123 Dr. Eric Troiano (University of Arkansas – Fayetteville) Masterclass Saturday, January 27, 2018, 5:00PM Seretean Center for the Performing Arts – Room 123 Concerto Henri Tomasi Mvt. I Andante et Allegro Sydney Pointer, Oklahoma State University Prélude, Cadence et Finale Alfred Desenclos Robert Hess, Wichita State University 7:30 – 9:00 p.m. OSU Saxophone Summit Recital #2, SCPA Concert Hall OSU Saxophone Summit Recital #2 Saturday, January 27, 2018, 7:30PM Seretean Center for the Performing Arts Concert Hall Olassimo (2017) François Rossé (b. 1945) Maï (1975) Ryo Noda (b. 1948) Andrew Allen (Midwestern State University), soprano and alto saxophone Wings Joan Tower Cradle Alexis Bacon Matthew Tracy (Southwest Oklahoma State University), alto saxophone Syrinx (1913) Claude Debussy (1862-1918) Hummingbrrd (2012/2016) Steven Bryant (b.
  • THE FUTURE of the FRENCH BASSOON: CHANGING PERCEPTION THROUGH INNOVATION by DARYN ZUBKE Submitted to the Graduate Degree Progra

    THE FUTURE of the FRENCH BASSOON: CHANGING PERCEPTION THROUGH INNOVATION by DARYN ZUBKE Submitted to the Graduate Degree Progra

    THE FUTURE OF THE FRENCH BASSOON: CHANGING PERCEPTION THROUGH INNOVATION BY DARYN ZUBKE Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Eric Stomberg ________________________________ Dr. Stephanie Zelnick ________________________________ Dr. Margaret Marco ________________________________ Dr. David Alan Street ________________________________ Dr. Michelle Hayes Date Defended: November 21, 2017 ii The Dissertation Committee for DARYN ZUBKE certifies that this is the approved version of the following dissertation: THE FUTURE OF THE FRENCH BASSOON: CHANGING PERCEPTION THROUGH INNOVATION ________________________________ Chairperson Dr. Eric Stomberg Date approved: November 21, 2017 iii Abstract Over the past 150 years the French bassoon has experienced great fluctuations in popularity and innovation, but is now at a turning point due to advancements based on recent research and development by musicians and instrument makers alike. A number of contributing factors have allowed the French bassoon to rediscover its place as a significant option to a new generation of bassoonists. The primary reasons for this renewed interest are five-fold: advances in instrument manufacture resulting in increased accessibility; a shift in tone production among professional French bassoonists; unprecedented access to recordings, past and present, of the French bassoon via the internet; a growing interest in performing French works on the instrument for which they were written; an interest by major orchestras to invest in the Ducasse system; and the influence of active French bassoonists promoting their instrument. Newly developed bassoons, made by Parisian bassoon maker Yannick Ducasse, have been engineered for more flexibility in tone production, allowing musicians to blend effectively with other instruments.
  • Ronald Roseman: a Biographical Description and Study of His Teaching Methodology

    Ronald Roseman: a Biographical Description and Study of His Teaching Methodology

    LAMPIDIS, ANNA, D.M.A. Ronald Roseman: A Biographical Description and Study of his Teaching Methodology. (2008) Directed by Dr. Mary Ashley Barret. 103 pp. Ronald Roseman was an internationally acclaimed oboe soloist, chamber musician, teacher, recording artist, and composer whose career spanned over 40 years. A renowned oboist, he performed in some of America’s most influential institutions and ensembles including the New York Woodwind Quintet, the New York Philharmonic, and the New York Bach Aria Group. His contributions to 20th Century oboe pedagogy through his own unique teaching methodology enabled him to contribute to the success of both his own personal students and many others in the field of oboe and woodwind performance. His body of compositions that include oboe as well as other instruments and voice serve to encapsulate his career as a noteworthy 20th Century composer. Roseman’s musicianship and unique teaching style continues to be admired and respected worldwide by oboists and musicians. The purpose of this study is to present a biographical overview and pedagogical techniques of oboist Ronald Roseman. This study will be divided into sections about his early life, teaching career, performance career and his pedagogical influence upon his students. Exercises and techniques developed by Roseman for the enhancement of oboe pedagogy will also be included. Interviews have been conducted with his wife and three former well-known students in order to better serve the focus of this study. The author also contributed pedagogical techniques compiled during a two-year period of study with Roseman. Appendices include a discography of recorded materials, the New York Woodwind Quintet works list, Roseman’s published article on Baroque Ornamentation, a list of his compositions with premiere dates and performers, and interview questions.