(Note. The following dissertations are available through University Microfilms International, P O. Box 1764, Ann Arbor, Michigan. The toll free number for ordering or information is. 1-800-521-3042. Ed.)
Blake, Cevedra Marc: The Baroque Oboe d'amore. (Ph.D. 1981, University of California, Los Angeles) 257p. 42/04A., p. 1361, RFD 81-20919.
Griswold, Harold Eugene: Etienne Ozi (1754-1813). Bassoonist, Teacher, and Composer (DMA 1979, Peabody Institute of Johns Hopkins University, Peabody Conservatory of Music) 658p. 40/07A., p. 3615, RFD 80-02561.
Hodges, Woodrow Joe: A Biographical Dictionary of Bassoonists Born Before 1825 (Volumes I and II). (Ph.D. 1980, The University of Iowa) 699p. 41/04A, p. 1272. RFD80-22036
Homer, Don Arlen: The Teaching of the Bassoon from c. 1700 to c. 1825. A Survey of Selected Pedagogical Material. (DMA 1980, University of Oregon) 200p. 41/05A, p. 1827. RFD80-25861
Lee, Walter Fulford: Analysis of Selected Compositions by Gordon Jacob for Solo Oboe: Sonata for Oboe and Piano, Sonatina for Oboe and Harpsichord, Two Pieces for Two Oboes and Cor Anglais, and Concerto No. 2 for Oboe. (DMA 1978, Peabody Institute of the Johns Hopkins University, Peabody Conservatory of Music) 121p. 39/06A, p. 3213. RFD78- 23478.
Lipp, Charles Herbert: New Compositional Techniques for the Bassoon. (DMA 1982, University of Illinois at Urbana-Champaign) 111p. 43/03A, p. 581, RFD82-18511.
The text examines both techniques demanded by contemporary repertoire and materials available to composers. Fundamental techniques are analyzed in relation to traditional repertoire showing how both old and new music for bassoon employ basic performance physiology. It is necessary for the player to find practice situations for examining the way performance physiology interacts with the instrument's mechanics. In these situations, activity is distributed among learning stages of seeking, finding, strengthening, and refining.
Composers that use the full range of the bassoon's pitch and amplitude compass often compose situations that create special demands on performers. Every composition requires a different and unique timbre, different projection, and different dynamic quality. The mode of variation of these elements in performance may demonstrate the character of the composition. Composers compose contexts that use signs to direct performer's action in varying the production of sound. Instead of performers waiting for composers to write instructions, they now may take the lead from jazz players and confront the full range of their instrumental technique by improvisation. Works for unspecified instruments and compositions for music-theater are other possibilities. Thus, many circumstances exist today that demand a reappraisal of composers' and performers' training.
The text describes these various situations of performance composition today. The text also contains suggestions for general performance, fingerings for special altissimo and quarter-tone playing, and tables of multiphonic transcriptions. The materials are presented to demonstrate contemporary techniques to the traditionally trained player and to propose a new performance environment for composer-performer collaboration.
Traditionally trained performers may discover problems in moving towards socially prefabricated goals. A "new" performer is thus relegated to composing contexts for new-found skills and musical desires.
Moore, J. Robert: Six Sonatas for Transverse Flute, Oboe or Violin and Basso Continuo, Op. 20, Volume II, by Johann Christian Schickhardt (ca. 1682-1762); A Performance Edition with Historical Commentary, Including an Ornamented Solo Part, Figured Bass Realization and a Comparison with Other Contemporary 'Sonate da Camera' (Volumes I and II). (DMA 1981, The University of Rochester, Eastman School of Music) 273p. 42/08A, p. 3342. RFD81-19599.
Peeples, Georgia Kay: The Bassoon in America, 1800-1840, as Depicted in Contemporary Pedagogic Sources. (DMA 1981, University of Maryland) 87p. 43/OlA, p. 13. RFD82-14397.
Post, Nora: The Development of Contemporary Oboe Technique. (Ph.D. 1979, New York University, 217p., 40/03A, p. 1145. RFD79-18862.
Pusey, Robert Samuel: Gordon Jacob. A Study of the Solo Works for Oboe and English Horn and Their Ensemble Literature. (DMA, 1980, Peabody Institute of the Johns Hopkins University, Peabody Conservatory of Music) 411p. 41/04A, p. 1275. RFD80-21962.
Rowan, Denise Cecile Rogers: The Contributions for Bassoon with Piano Accompaniment and Orchestral Accompaniment of Eugene Bozza with Analyses of Representative Solo Compositions. (DMA 1978, University of Southern Mississippi) 160p., 39/04A, p. 1920. RFD78-18982.
Sperry, Robert Leslie: An Educator's Guide to the Bassoon. (M.A. 1979, California State University, Fullerton) 70p. 18/01, p. 43. RFD13-13559