(The following reprint is the first of two parts, both of which originally appeared together as Volume 11, No. 3 (1982) of Interface -journal of New Music Research, printed in The Netherlands, copyright-1982 by Swets & Zeitlinger B. V., Lisse. Reprinted by permission. The oboe used as the basis for all fingerings was a full Plateau Conservatoire system, Marigaux No. 10213. Editors.)

I see this paper as the first of two companion articles for my earlier IDRS paper concerning multiphonics for the oboe (Journal of the International Double Reed Society 10 [1982]: 12-35). These two companion articles present the main categories of monophonic sounds today as they pertain to the oboe repertoire. For convenience' sake, I have organized these techniques into three broad classifications: timbre, pitch, and other techniques. This paper deals only with the category of timbre.

Taken together, these three articles serve to present instrumental concepts, techniques, and notational procedures which, in my mind, form an essential part of any oboist's or composer's knowledge today. Yet my experience suggests that a thorough grasp of these possibilities - on the part of both oboist and composer - is far less commonplace than one might hope.

We are at a point in time, I believe, when a paper like this becomes a summing up, for most of the techniques and notational procedures described here are already well established in the repertoire. The aural potential beckoning before us like the Yellow Brick Road to Oz combined with the sobering f act that the twenty-first century is nearly upon us surely provide compelling reasons to secure an adequate command of twentieth-century techniques; without such an understanding, it would be difficult successfully to explore new terrain. But where does one begin? Lewis Carroll provided some excellent advice on this subject, which I plan to follow exactly: "Begin at the beginning," the king said, gravely, "and go on till you come to the end: then stop."

Vibrato

The virtually ubiquitous vibrato employed by many oboists today dates back only to the early years of this century. In pre-twentieth century music, vibrato was primarily a coloristic device, and perhaps the recent trend towards experimentation with woodwind vibrato is reminiscent of its more judicious use in past centuries.1

The development of modern vibrato can be attributed to such seminal instrumentalists as oboists Leon Goossens (b. 1897) and Fernand Gillet (1882-1978) and flutist Marcel Moyse (1889-1984). Goossens, who led the way in England, describes his early experience:

Vibrato was rarely, if ever used, and certainly not as a fundamental aspect of tone production. Those first days at the Queen's Hall Orchestra represented for me a period of isolation from the prevalent style of sound production. I suffered a great deal of abuse and jibing from other players at this time for persisting with my own concept of a beautiful oboe sound incorporating vibrato as an essential aspect of its singing quality. (Goossens and Roxburgh, 1980, p. 87).

That the prevailing concept of sound held very little interest for Goossens is obvious in this exchange with Edward Roxburgh concerning William Malsch, one of Goossens' teachers at the Royal College of Music (c. 1911):

LG: Now he phrased beautifully, but what he brought out with that phrase was nobody's business! It was like a comb and tissue paper, with no vibrato. ER: Is this the sort of sound you rebelled against?

LG: Oh yes, yes. You held this sort of instrument out the window and it would play - he stripped his reed to nothing. (Goossens interview, 1982)

The distinguished French oboist Fernand Gillet attended the Paris Conservatory in 1897 and 1898. He studied with his famous uncle, Georges Gillet (1854-1920), and won his first prize in oboe at the age of fifteen. Interviewed at the age of ninety-five, he responded as follows:

NP: Did you use vibrato during the years you were at the Paris Conservatoire?

FG: At the Paris Conservatoire it was forbidden. Vibrato must have begun in the early years of the nineteenth century. 1820, for instance... My uncle used to do it, so we imitated him as much as we could.

NP: Why did you use it?

FG: To be like my uncle.

NP: Why did he use it?

FG: Because it's more expressive.

NP: Then why was it forbidden, if it was more expressive?

FG: For the woodwinds it was forbidden for several years. But after that, even in my time, we had it.

Later he commented on the same subject:

FG: The flute players were the first ones to do it, as far as the woodwinds... The oboe was a little later. As far as the oboe is concerned, my uncle was the first one to play with vibrato.

NP: Did you use any vibrato at the time you won your first prize?

FG: Yes, but it was very discreet, not very wide.

NP: Did other students use it at that time?

FG: Oh, yes. I was not the only one.

NP: How were you taught to produce vibrato?

FG: Well, everybody did it in a different way. I did it with the throat - my uncle also.

NP: Goossens mentions using vibrato very early in this century. Did you know him then?

FG: Oh, yes.

NP: Did you ever talk about these things?

FG: No. That would have been indiscreet.

NP: When did vibrato become very common?

FG: About fifty years ago. (Gillet interview, 1978)

Moyse's recollections coincide roughly with those of Gillet. Writing about the use of vibrato in 1905, Moyse stated that it had been introduced to the Parisian woodwinds about seventy years earlier, or about 1835. Moyse noted that when he began his musical studies - a bit before 1900 - vibrato was the subject of considerable controversy. "Le vibrato? C'etait pire que le Cholera." [Vibrato? It was worse than cholera.] According to Moyse, the typical musician's conversation about vibrato went like this:

Il joue bien? Qu'en penses-tu? [Does he play well? What do you think?]
Non. Il vibre. [No. He vibrates.]
(Moyse, "Le Vibrato en 1905," unpaginated)

Such was the problem of vibrato in 1905.

Viewed from the perspective of this history, current experimentation with vibrato seems all the more explicable; in fact, the use of vibrato as a discrete agent of timbral modification has interested many twentieth century composers. Brian Ferneyhough's Coloratura provides an elaborate illustration, calling for seven changes of vibrato within the final eleven measures of the work. Less exorbitant demands are found in works by Peter Winkler and M. William Karlins. Winkler asks the performer to complete a glissando without vibrato, then to add a crescendo with a progressively widening vibrato (Ragtime Grackle, p. 1, score). A more uniform (quarter tone) vibrato is required in Karlin's Quintet. Mauricio Kagel's Atem offers one of the few instances of changing vibrato speeds (Ex. 1).

Isang Yun is perhaps the composer most concerned with woodwind vibrato today. Of his recent chamber and solo pieces which include oboe, the most detailed system of vibrato notation is found in Images (1968):

Yun's meticulous concern with vibrato in this piece suggests a view of vibrato as far more than a coloristic device; it becomes a critical means of creating and sustaining intensity.

Harmonics

The use of harmonic fingerings for the oboe to produce a particularly soft and ethereal upper register dates back to the nineteenth century. But as Gillet remarks, this was once an unsanctioned practice:

NP: Did you use harmonic fingerings?

FG: Sometimes. But very seldom. We didn't use them in the Conservatoire.

NP: When did you use them?

FG: When we were free. At the Conservatoire we were not free.

NP: Did everyone know these fingerings?

FG: Oh, yes.

NP: If you were a student, you knew the fingerings, but realized that you could not use them at the Conservatoire?

FG: Yes. (Gillet interview, 1978)

What, exactly, is a harmonic? It is a simple, integral relationship of any note to its fundamental, with fundamental being defined as the first harmonic. All sounds on the oboe, therefore, are made up of fundamentals plus their overtones:

The conventional range of notes on the oboe is derived from a system of fundamental pitches in the lower register, and harmonics (overtones) derived from these for the upper register. These are natural harmonics extending above a fundamental on a series: octave, 12th, 15th, 17th and 19th. All basic fingerings have been derived from these constants, but they do not constitute the only combinations possible. (Goossens and Roxburgh, 1980, p. 170)

Harmonic fingerings, as differentiated from harmonics per se, involve the isolation of specific frequencies above a fundamental. The oboe's harmonic fingerings are based upon fingerings overblown at the l2th, or third harmonic, which are substituted for standard fingerings.2 Problems begin here, and involve the need to differentiate correctly between "alternate" and "harmonic" fingerings. A striking instance of the failure to recognize this difference is found in Bruno Bartolozzi's New Sounds for Woodwind, the most influential work to date on contemporary woodwind techniques.

Bartolozzi claimed that woodwind instruments produce both natural and artificial harmonics, the difference between the two being that natural harmonics are based upon standard fingerings and that artificial harmonics are based upon alternate fingerings. He concluded that:

We therefore have the possibility of producing the same note with different timbres and also of exploiting the various artificial harmonics derived from these notes. (Bartolozzi, 1967, p. 13)

Bartolozzi's theory that alternate fingerings produce artificial harmonics (distinguishing them from natural harmonics based on standard fingerings) is erroneous in that the production of any note, either by the standard or the non-standard fingering, yields the same overtones. If, for example, one were to play F4 on the oboe via two different fingerings, the resultant harmonics would be identical in pitch and frequency relationship. The perceived differences concern the initial transients, that is, the initial response of certain partials might be slightly dissimilar as a result of the different venting of the air column produced by the alternate fingerings. Furthermore, the relative strengths of the discrete harmonics could also change.

Consequently, there is no artificial harmonic, since all alternate fingerings of the same note are based upon an identical harmonic series. Simply stated, this means that while all harmonic fingerings are also alternate fingerings, alternate fingerings do not represent new harmonic combinations.

Bartolozzi's misconception has caused many composers to think that any alternate fingering is, acoustically speaking, a harmonic fingering. Of course, this is absolutely untrue. To take a case in point, anything below F5 cannot be based on a fingering a 12th below, since B-flat3 is the oboe's lowest note. Toru Takemitsu's Distance calls continually for harmonics in registers where there are none. The only solution is to play alternate fingerings whose timbres are as close as possible to those of harmonic fingerings overblown at the 12th.

Compositional usage of harmonics falls into two broad classifications. The more common is the alternation of harmonics with standard pitches. An early example, using the standard notation of the symbol (0) above a note, is found in Elliott Carter's Quartet (Ex. 2).

Paul Earl's Doppelgänger: Music for Oboes and Laser includes the alternation between harmonic and normal fingerings but, unlike Carter, Earls indicates neither speed nor duration (Ex. 3). The use of harmonics in a work for oboes and laser is particularly effective, because the laser patterns change dramatically with each shift of tone color.

Another composer who shows considerable interest in harmonics is Luciano Berio, who relies on harmonics to achieve the effect of alternate fingerings within clearly defined rhythmic structures (Ex. 4).

The other compositional use of harmonics is without reference to the standard fingering of the same pitch. The second movement of Stefan Wolpe's Suite im Hexachord (1936) provides a very early illustration (Ex. 5). A second example: after a long group of multiphonics in his Dmaathen, lannis Xenakis asks for a harmonic C6 sustained over three bars at quarternote = 52 (Dmaathen, p. 3, score). There is no reference whatsoever to a "normal" sound; the white timbre of the soft harmonic is made all the more austere by the fff eruptions of the percussion. This unconventional writing is, incidentally, remarkably successful.

NOTE: because of the differences in players and their instruments, there is some flexibility in the choice of octave keys used to produce these pitches.

[Select to figure enlarge]

Harmonic Trills

Harmonic trills, by definition, call for harmonic fingerings to be employed in the production of the notes involved. Based on harmonic fingerings, these trills are necessarily very quiet. They lend themselves, therefore, to startling contrast, as in Vinko Globokar's Discours III, where four of the five oboists enter on fff double trills which then simultaneously become subito pianissimo harmonic trills (Ex. 8).

Harmonic trills may also be called for as a color contrast to the alternation of normal and harmonic fingerings of the same note. In Niccolò Castiglioni's Alef, the alternation of harmonic and normal fingering is following by a harmonic trill, which is then followed by a normal trill and finally a harmonic multiphonic trill (Ex. 6).

[Select to enlarge]

The usual notation of harmonic trills is:

One harmonic fingering to another harmonic fingering:

Harmonic to normal fingering of the same note:

Color Trills

A color (or unison) trill is achieved by two slightly different fingerings of the same note. Since virtually no two fingerings produce precisely the same pitch, color trills are also often microtonal, depending upon the player's choice of fingerings.

There is no standard notation for color trills. Ursula Mamlok writes a squiggle symbol over the note, with a footnote specifying which keys are to be trilled (Five Capriccios for Oboe and Piano). Isaac Nemiroff marks " uni tr ~~~" and also indicates which keys are to be trilled (Duo for Oboe and Bass Clarinet). In contrast, Takemitsu employs a normal trill sign over a note, but specifies a color trill fingering in its production (Ex. 7).

[Select to enlarge]

Berio indicates color trills by the marking [~~~] also explained in his preface (Sequenza VII).

A practical solution to these diverse practices might be to employ only the symbol [~~~] above a note, as well as to include the fingering either in the score in a preface.

FINGERING CHART FOR COLOR TRILLS

This chart affords only a partial listing of the many possibilities for color trills. The player must produce the indicated pitch by the conventional fingering, and then add the key(s) identified. In many cases, more than one choice is given. When this occurs, the first fingering shown is the least microtonal (i.e. the closest to a unison), followed by increasingly microtonal fingerings.

[Select to enlarge]

Double Trills

A double trill is a very rapid semi-tone trill between any two pitches where a second trill fingering alternates with the standard trill fingering. It is a timbral modification which often also makes the trill more rapid and incisive.

Compositional use of double trills falls into three categories. A double trill may be used for emphasis, as in Takemitsu, where the forte fluttertongued double trill is marked "agitato" (Distance, p. 8, score); for contrast, as in Globokar's Discours III (Ex. 8); or simply as a timbral colr, as in Krzysztof Penderecki's Capriccio per oboe e 11 Archi, which includes an extended series of double trills for oboe, framed by standard trills from the strings (p. 23, score). The most common, as well as the most lucid, notation of double trills is two trill lines - the top line preceded by any necessary accidental signs, the bottom by the "tr" indication - as in the Globokar example below.

[Select to enlarge]

One observation: unfortunately, the double trill is often used poorly. Many composers do not realize that only a few double trills can be produced on the oboe, since there are so few of the duplicate keys necessary for their production. While some oboists claim that double trills can be achieved on certain pitches (which do not have an alternate key) by employing "false" double trills, I find the results awkward and generally unconvincing. For this reason, I would recommend only the true double trill.

[Select to enlarge]

Alternate Fingerings

Alternate fingerings contribute significantly to the performer's ability to vary timbre. Although there are countless occasions when oboists employ alternate fingerings, no standard notation for these fingerings has emerged. Frequently, the composer simply indicates the fingerings, as in works by David Cope (Indices, pp. 7, 8, score) and Takemitsu (Distance, pp. 2, 4, score). Berio uses five different fingerings of B4 in his Sequenza VII, with his specific fingerings indicated by the numbers one to five above the note. While Berio's practice works well in this instance, it does necessitate that the alternate fingerings be memorized. Sometimes a composer does not indicate fingerings at all. Thus, Xenakis writes simply "varier timbre" over sustained pitches (Dmaathen, p. 1, score).

The reader interested in exploring alternate fingerings is referred to the excellent fingering chart appearing in Lawrence Singer's Metodo per Oboe (pp. 14-25).

Fluttertongue

Producing a growl-like timbre in the normal woodwind or brass sound, fluttertongue is achieved in one of two ways: a rapid flutter of the tongue behind the reed or a growl produced by the throat - a trilled uvular "r."

While fluttertonguing is not difficult, composers should be aware that some players are unable to do it. Furthermore, given the difference in dynamic levels between the two types of fluttertongue the tongued flutter is relatively soft and the throat flutter is fairly loud - composers would be well advised to avoid combining extreme dynamics and fluttertongue.

Fluttertongue is frequently used in conjunction with other new techniques. Takemitsu's Distance (p. 5, score) adds a fluttertongue to an alternation between a normal and alternate fingering; in Eucalyptus II (p. 6, oboe part) he asks for fluttertongue in conjunction with a glissando which is also simultaneously sung an octave lower. Paul Zonn makes use of fluttertongue as a vocal articulation, requiring the flute and oboe simultaneously to "flutter without pitch" (One Slow Turn of the World, p. 6, score). He marks a square notehead with the flutter indication (square note head with slashes through the stem), departing from the usual notation of fluttertongue - three slashes through the stem of a standard notehead.

Yun's Images (bars 68-76, score) offers the unusual instance of fluttertongue as an agent of rhythmic emphasis. While the flute fluttertongues continually, the oboe adds flutter to sustained notes, emphasizing either quarter or eighth note rhythms. In a passage involving numerous instrumental entrances on sixteenth-note subdivisions of the beat, the oboe's flutter functions as an unequivocal anchor for the other parts.

Rolling Tone

Rolling tone is a somewhat precarious beating effect produced in the oboe's low register. It is accomplished by extreme embouchure pressure on the lower blade of the reed, making one blade vibrate at a slightly different frequency than the other. This heterodyning, or mixing, of the two frequencies produces the beats which constitute rolling tone. Restricted to the oboe's lowest register, rolling tone is possible only on double reeds because it requires that two blades vibrate at different frequencies.

Klaus Huber's Noctes intelligibilis lucis (1961) provides the earliest use of rolling tone known to me. Despite its frequent appearance in the repertoire - particularly those works commissioned by Heinz Holliger - there is no consensus on the manner in which rolling tone should be notated. The symbols [oval with a horizontal wavy line] or [circle with an x] above a note - virtually always explained in a preface - are now perhaps the most frequent indicators.

Rolling tone is possible from B-flat3 to D4 . The most practical dynamic level is mezzo forte or greater, since the combination of the oboe's rather loud low register and the tremendous pressure needed to create the rolling tone defy softer dynamic marks. Though composers have called for rolling tone at softer dynamic levels, this is very difficult to achieve.

Starting time is sometimes a problem with rolling tone, and it is often a second or two before rolling tone becomes apparent in any pitch already sounded. Consequently, this effect is usually found in conjunction with long, sustained pitches, as evidenced in Christos Hatzis' Aztlan (Ex. 9).

[Select to enlarge]

Should a situation arise wherein either the composer or performer desires a more instantaneous rolling tone, or should the oboist have a reed which simply will not execute this technique - and some reeds, especially older ones, will not produce it - I would suggest a second method of producing the sound. Using a normal embouchure, place the upper teeth directly on the reed. This should start the beating effect immediately. Alternatively, there are some rolling tone-like beating multiphonic fingerings (which Maurice Ohana uses very successfully in his Sarc); with a bit of practice, these fingerings provide timbres which are almost indistinguishable from those of the conventionally produced rolling tone.

Muting

Due, in all probability, to the fact that the oboe's volume increases as the instrument descends into the lower register, muting in one form or another has existed for several centuries. The distinguished oboe virtuoso Johann Christian Fischer (1773-1800) claimed to have been the inventor of the oboe mute, modestly offering the following advice:

To soften the Sound of the Hoboy, put some Cotton or Wool up the Bell of your Hoboy but be careful not to put it up higher than the Air holes for if you do it looses [sic] its effect: this invention was made known in England by the famous Player, J. C. Fischer. (Fischer, p. 7)

Oboe muting was, in fact, fairly common in the eighteenth century. In addition to the mute described by Fischer, a second type consisted of a pearshaped mute of turned hardwood often found together with early oboes (Bate, p. 183).

Goossens' commentary on his teacher, Charles Reynolds (1843-1916), testifies that the practice of muting continued during the nineteenth century:

Reynolds used a handkerchief draped below the music desk of his stand to dampen the sound in the long pianissimo sections of Wagner's operas. "Muting" in this way is a valid form of "sotto voce" playing. Other players use a wad of cotton wool to put in the bell of the instrument. (Goossens and Roxburg, 1980, p. 52).

Explicit requests by composers for muting the oboe did not occur until the early twentieth century. One of the earliest examples is found in Petroushka, where Igor Stravinsky marks all three oboes con sord (p. 171, score).

Soft passages and even single notes in the oboe's low register are frequently more successful when muted. Perhaps for this reason some composers explicitly request muting. In his Instruments I, for example, Morton Feldman marks the single entrance of the English horn Sordino (p. 9, score). In the fifth and final movement of Cinque Frammenti, Donald Martino indicates sord. for both oboe and contrabass (p. 8, score). A most imaginative use of muting occurs in the third movement of this work. The first bar is notated con sord., pianissimo for both oboe and contrabass (p. 5, score). The oboe begins a long crescendo in the third bar, marked "colla massima intensità," and the oboist is instructed to remove the mute as the crescendo continues.3 In his preface to the work, Martino suggests three methods of muting. The first is simply to place the instrument between the legs, though Martino regards his method as least satisfactory. Another option, using a mute, poses the problem of removing the mute while playing. To deal with this, Martino says:

A third method is suggested if the performer assumes a seated playing position. Affix the mute to the base of a T-shaped wire. With the top of the T secured under the thighs, the column to which the mute has been affixed will protrude so that the oboe bell may be placed over it or removed from it while playing. (Martino, "Notes" from Cinque Frammenti)

Still another means of muting this passage is to tie some heavy thread to the mute, tape the thread securely to the music stand, and then back away from the music while making a crescendo.

Muting is most successful with those notes whose fingerings use many closed keys, since open keys act as air vents and reduce the effectiveness of the mute. This explains, of course, why muting is so successful in the oboe's low register.

Oboe mutes can be made of almost anything, including handkerchiefs, socks, paper napkins and discarded nineteenth century oboe sonatas. The thickness of the muting material affects both the degree of muting possible and intonation. A heavy mute, for example, while creating the most dramatic muting effect, also creates a few serious intonation problems. The single pitch whose intonation is most adversely affected by muting is E-flat6 , and this note should be avoided when writing muted passages for the oboe. Other than this, the oboe can be muted in all registers, except for those pitches below C4. In rare instances, depending upon the material used for the mute, it is possible to descend as low as B3, though composers and players would be well advised to restrict themselves to the C4 limit. Perhaps because of these limitations, the instances of muting in the repertoire are both rare and judicious.

ENDNOTES

1. During the seventeenth and eighteenth centuries, vibrato was employed primarily as an ornament, as in the scores of French composers who indicated woodwind vibrato by the symbol [four upward and downward sloping dots] above a note. Jacques Hotteterre's Principes de la flute traversière, flute à bec et du Hautbois (1707) gave detailed instructions for the production of flattements, or fingered vibrato. This technique was similar for all woodwinds, since all had open holes at that time. Flattements involved covering either the entire hole, or the rim of the tone hole immediately below the last hole covered. The result was similar to modern vibrato.

2. The oboe can be overblown beyond the 12th. Fingerings at the 12th represent a practical convention, with reliable results due to additional venting of octave keys. Attempting to overblow the oboe at any other harmonic is precarious.

3. There are two editions of this work, both copyrighted 1964 by Josef Marx. One is the reproduction of Martino's ms., the other is a printed edition. The printed edition has no prefatory remarks by the composer, and does not ask that the mute be removed while playing. Questioned about this discrepancy, Martino replied that: "The 1964 ms. is without error. It represents my original intention. The latter edition represents a compromise. But both versions must be regarded as correct. The muting after all is but a shading or decoration. In my opinion however the original version is more effective." letter to the author, 25 November 1977).

BIBLIOGRAPHY OF SCORES

Amy, Gilbert. Jeux, pour (1 5 4) hautbois. 1970. London: Universal Edition, c1972.

Babbitt, Milton. Paraphrases, for ten instrumentalists. 1980. New York: C.F. Peters Corp., c1982.

Bainbridge, Simon. Music for Mel and Nora, for oboe and piano. London: United Music Publishers Ltd., c1982. Berio, Luciano. Chemins IV su Sequenza VII, per oboe e archi. 1975. Milano: Universal Edition, cl975.

Berio, Luciano. Sequenza VII, per soio oboe. 1969. London: Universal Edition, c1971.

Carter, Elliott. Quartet for Flute, Oboe, Cello and Harpsichord. 1952. New York: Associated Music Publishers, c1960.

Castigliono, Niccolò. Alef, Komposition fur Oboe. 1965. Mainz: Ars Viva Verlag, c1967.

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Childs, Barney. Interbalances I, for oboe/English horn, bass clarinet/Eb alto sax, and bass. 1961. New York: Composer's Facsimile Edition.

Childs, Barney. Nonet. 1967. In Source: Music of the Avant Garde 3/1 (Jan. 1969): 58-71.

Cope, David. Indices for Solo Oboe(ist). 1971. Copy of composer's ms.

Crumb, George. Ancient Voices of Children, for soprano, boy soprano, oboe, mandolin, harp, electric piano, percussion. 1970. New York: C.F. Peters Corp., c1970.

Earls, Paul. Doppelgänger: Music for Oboes and Laser. 1976. Copy of composer's ms.

Feldman, Morton. Instruments I, for alto flute, oboe, trombone, celeste, and percussion. 1974. London: Universal Edition, c1974.

Feldman, Morton. Instruments III, for flute, oboe and percussion. 1977. London: Universal Edition, c1977.

Ferneybough, Brian. Coloratura, for oboe and piano. 1966. n.p.: Hinrichsen Edition Ltd., c1970.

Gibson, David. Violets, for five oboes. 1977. Copy of composer's ms.

Globokar, Vinko. Atemstudie, fur oboe. 1971. Frankfurt: Edition Peters, c1972.

Globokar, Vinko. Discours III, fur funf Oboen. 1969. Frankfurt: C. F. Peters Corp., c1972.

Goldstein, Malcolm. A summoning of focus, for solo wind instrument. 1977. Copy of composer's ms.

Hatzis, Christos. Aztlan, for oboe and harp. 1978. Copy of composer's ms.

Hatzis, Christos. Erevos, for live and prerecorded oboe. 1979. Copy of composer's ms.

Hatzis, Christos. Kotzari, for oboe and three percussion soloists. 1980. Copy of composer's ms.

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Holliger, Heinz. Studie uber Mehrklange, fur Oboe solo. 1971. Cologne: Hans Gerig, c1979.

Huber, Klaus. Noctes intelligibilis lucis, fur Oboe und Cembalo. 1961. Mainz: Schott, c1967.

Johnston, Ben. A Sea Dirge, for mezzo soprano, flute, violin and oboe. n.d. Baltimore: Smith Publications, c1974.

Johnston, Ben. Five Fragments, for oboe, bassoon, cello, and medium voice. n.d. Baltimore: Smith Publications, c1975.

Kagel, Mauricio. Atem, fin- einen Blaser. 1970. London: Universal Edition, c1976.

Karlins, M. William. Woodwind Quintet 1970. New York: Composer's Facsimile Edition.

de Kruyf, Ton. Echoi: canti e capricci per oboe solo. 1969. Berlin: Bote & Bock, c1974.

Mamlok, Ursula. Concert Piece for 4, for flute, oboe, viola and percussion. 1964. New York: Composer's Facsimile Edition.

Mamlok, Ursula. Five Capriccios for Oboe and Piano. 1968. New York: C.F. Peters Corp., c1975.

Martino, Donald. Cinque Frammenti, for oboe and string bass. 1961. New York: Josef Marx, c1964.

Nemiroff, Isaac. Atomyriades, for solo oboe. 1972. Copy of composer's ms.

Nemiroff, Isaac. Duo for Oboe and Bass Clarinet. 1973. Copy of composer's ms.

Ohana, Maurice. Sore, pour hautbois seul. 1972. Paris: Gerard Billaudot, c1977.

Penderecki, Krzysztof. Capriccio per oboe e 11 archi. 1964. Celle: Moeck Verlag, c1968.

Scelsi, Giancinto. Ruche di Guck, per ottavino e oboe. 1955. n.p.: Edizioni dell'autore, c1955.

Stravinsky, Igor. Petroushka. Edited by Charles Hamm. New York: W.W. Norton & Co., Inc., 1967.

Takahashi, Yuji. Opoeration Euler, for two or three oboes. n.d. New York: C.F. Peters Corp., c1969.

Takemitsu, Toru. Distance, for oboe with or without sho. 1972. Paris: Editions Salabert, 1978.

Takemitsu, Toru. Eucalypts II, pour flute, hautbois et harp. 1970. Paris: Editions Salabert, c1973.

Winkler, Peter. Ragtime Grackle, for oboe, cantus firmus and piano. 1972. Copy of composer's ms.

Wolpe, Stefan. Sonata for Oboe and Piano. 1939-1941. New York: Josef Marx, n.d.

Wolpe, Stefan. Suite im Hexachord, for oboe and clarinet. 1936. New York: Josef Marx, n.d.

Wuorinen, Charles. Speculum Speculi, for six players. 1972. New York: C.F. Peters Corp., c1972.

Xenakis, Iannis. Dmaathen for oboe and percussion soloists. 1976. Paris: Editions Salabert, c1976.

Yun, Isang. Images, für Flote, Oboe, Violine, und Violoncello. 1968. Berlin: Bote & Bock, c1969.

Yun, Isang. Trio für Flöte, Oboe und Violine. 1972/73. Berlin: Bote & Bock, c1974.

Zimmermann, Bernd Alois. Konzert für Oboe und kleines Orchester. 1952. Mainz: Schott, c1972.

Zonn, Paul. One Slow Turn of the World, for flute, oboe, clarinet, percussion and contrabass. 1971. Copy of composer s ms.

BIBLIOGRAPHY OF BOOKS AND INTERVIEWS

Bartolozzi, Bruno. New Sounds for Woodwind. Translated and edited by Reginald Smith Brindle. London: Oxford University Press, 1967.

Bate, Philip. The Oboe: An Outline of its History, Development, and Construction. 3rd ed. London Ernest Benn Ltd., 1975.

Feldman, Morton. Interview. London, 24 July 1977.

Fischer, Johann Christian. New and Complete Instructions for the Oboe or Hoboy. London: Longman and Broderip, 1770.

Gillet, Fernand. Interview. Brookline, Mass., 16 January 1978. From Post, Nora. The Twentieth Century Oboe in France and England: Makers and Players. East Lansing, Michigan: International Double Reed Society, 1982.

Goossens, Leon. Interview. London, I August 1982. From Post, Nora. The Twentieth Century Oboe in France and England: Makers and Players. East Lansing, Michigan: International Double Reed Society, 1982.

Goossens, L., and Roxburgh, E. Oboe. 2nd ed. Yehudi Menuhin Music Guides. London: Macdonald and Jane's, 1980.

Holliger, Heinz, ed. Pro Musica Nova. Wiesbaden: Breitkopf & Hartel, n.d.

Hotteterre, Jacques. Principes de la flute traversiere, flute a bec et du Hautbois. Paris: Christophe Ballard, 1707; reprinted, edited, translated and with a foreword by David Lascocki. New York: Praeger, 1968.

Howell, Thomas. The Avant-Garde Flute, A Handbook for Composers and Flutists. Berkeley: University of California Press, 1974.

Johnston, Ben. "Microtones." Dictionary of Contemporary Music. Edited by John Vinton. New York: E. P. Dutton & Co., 1974 (pp. 483-484).

Moyse, Marcel. "Le Vibrato en 1905." From Comment j'ai pu maintenir ma forme. Volume 11 Comment travaille: Comment Professor. West Brattleboro, Vermont: Marcel Moyse, n.d.

Read, Gardner. Contemporary Instrumental Techniques. Foreword by Gunther Schuller. New York: Schirmer Books, 1976.

Singer, Lawrence. Metodo per Oboe. Translated by Reginald Smith Brindle. Milano: Edizioni Suvini Zerboni, 1969.

Weisberg, Arthur. The Art of Wind Playing. New York: Schirmer Books, 1975.

Wragg, J. The Oboe Perceptor. London: Printed for the Author & Sold at his House no. 8, Dean Street, Fetter Lane, Holborn, 1792.

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