Master of Arts, The Ohio State University, 1965, Graduate School

Committee: Not Provided (Other) Subjects:

DMA, University of Cincinnati, 2023, College-Conservatory of Music: Bassoon

Tonguing is a mysterious aspect for many wind instrument learners and instructors because the action of the tongue is hidden from direct observation. This document aims to explore bassoon tonguing technique from the perspective of oral structure and function with some supporting aspects, like breathing and the use of syllables, to describe the mechanics of tonguing. Another purpose is to help bassoon students and instructors have a better awareness of physiological problems that may cause muscle tension and difficulties in tonguing. The research focuses on the analysis of the tongue and throat during bassoon playing based on scientific investigation. Also, compiling pedagogical methods from several professional bassoonists will help compare the relevance or difference between physical sensation and the actual mechanism in the closed embouchure. The analysis reveals the variety of tonguing techniques used by professional bassoonists to achieve good articulation, taking into account the individual differences in oral anatomy. This document is unlike a method book for teaching tonguing technique step by step. This is a resource to explore tonguing problems on the bassoon and seek solutions based on the physiological perspective. The results of this research will combine physiological explanations for tonguing mechanisms, a list of popular tonguing methods, solutions to particular technical problems, and ideas for choosing proper syllables. These are a resource for bassoon pedagogues and students in teaching and learning bassoon tonguing technique.

Committee: James Bunte D.M.A. (Committee Chair); Jonathan Kregor Ph.D. (Committee Member); Thomas Gamboa (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2023, Music

Woodwind quintet is often overlooked by horn players and teachers, but the genre is a key component to a horn player's musical education. Skills learned in quintet may be applied to other forms of playing and increase the horn player's overall technique and musicianship. Unfortunately, many horn players receive limited or no training in the genre. This document explores eleven commonly performed wind quintets from the horn player's perspective. Information regarding tempo, fingerings, articulations, blending, and other necessary skills is included. The guide is most useful when used in combination of musical score. All works included in this study should be readily available through university libraries. The goal of this study is to provide a resource for collegiate horn players to use when learning wind quintet repertoire. Chamber coaches whose primary instrument is not the horn may also benefit from this guide.

Committee: Bruce Henniss (Advisor); Graeme Boone (Committee Member); Timothy Leasure (Committee Member); Russel Mikkelson (Committee Member) Subjects: Music

Master of Music, University of Akron, 2019, Music-Composition

This Thesis is a detailed description of Seth Kenyon's Woodwind Quartet serving as his thesis at The University of Akron. The written document is accompanied by a composed work of music for Flute, Oboe, Bb Clarinet, and Bassoon.

Committee: Jamie Wilding Dr. (Advisor); Robert Brownlow Dr. (Committee Co-Chair) Subjects: Composition; Music

Doctor of Musical Arts (DMA), Bowling Green State University, 2019, Contemporary Music

The saxophone is relatively young compared to other instruments of the band and orchestra. Because the instrument is less constricted by traditional repertoire, composers looking to push the boundaries of concert music eagerly write for the saxophone, and saxophonists willingly experiment with new combinations of performance media. An exponential increase of works written for saxophone and multimedia has occurred since the 1960s. This increase in multimedia works for saxophone has paralleled a digital media revolution, manifested through advancements in recording, interactive media, and communication technologies. This document examines the synthesis of saxophone performance and the digital media revolution, elaborating upon existing repertoire for saxophone and digital media in a non-comprehensive manner, with emphasis placed upon electroacoustic works for saxophone and video. Possibilities for multimedia performance are rapidly expanding within the saxophone's repertoire. A poignant example, Matthew Burtner's meta-saxophone project combines motion tracking, accelerometers, and other technologies with the physical saxophone, creating a cyborg instrument. In this situation, Burtner is an auteur, acting simultaneously as the composer, performer, technologist, and sometimes visual artist, all while using the saxophone as the crux of expression. Other composers and artists take a collaborative approach while using saxophone and digital media. These combinations of saxophone and digital media create a new and exciting medium in concert performance. Yet, the combination of live performance and digital medium lacks scholarly analysis. While existing research provides valuable analysis from a performer's perspective, further examination of the interactions between mediums can reveal new potential and meaning. The introduction of elements of media theory and analysis to saxophone repertoire, using specific repertoire as micro-case-studies, will widen the artistic underst (open full item for complete abstract)

Committee: John Sampen D.M.A. (Advisor); Ryan Ebright Ph.D. (Committee Member); Mikel Kuehn Ph.D. (Committee Member); Jerry Schnepp Ph.D. (Other) Subjects: Communication; Mass Media; Music

M.M., University of Cincinnati, 2017, College-Conservatory of Music: Music History

This project examines the first movements of the nine woodwind quintets by Franz Ignaz Danzi (1763-1826), Opp. 56, 67, and 68, in order to substantiate the ubiquitous claims surrounding the composer as being a “founder” of the genre, alongside Anton Reicha (1770-1836). A brief background on Danzi provides information on the composer's musical training as well as his compositional career, which had direct impact on the composer's blended Classical and pre-Romantic style. Additionally, there is a chapter dedicated to the development of wind chamber music during the seventeenth and eighteenth centuries. This consideration to earlier wind music, particularly the Harmonie, will aid in placing Danzi at the genesis of the modern woodwind quintet. Lastly, I have included extensive formal and stylistic analyses of the first movements in order to show key aspects of the composer's transitional style within a new medium—the woodwind quintet.

Committee: Jonathan Kregor Ph.D. (Committee Chair); Stephen Meyer Ph.D. (Committee Member); Mary Sue Morrow Ph.D. (Committee Member) Subjects: Music

Doctor of Philosophy, The Ohio State University, 1995, Graduate School

Committee: Not Provided (Other) Subjects: Music

Doctor of Philosophy, The Ohio State University, 1986, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1982, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Musical Arts, The Ohio State University, 2014, Music

Beginning in the fall of 2013 and continuing through May of 2014, the xYz Quintet presented a concert season comprising traditional concerts, known as the masterworks series, and an education project called The Chamber Music Experience. In addition to the procedural story of the ensemble's first season, the author describes the strategic and analytical techniques he employed for the planning, presentation and evaluation of the concert season. The author divides his writing into four principle topics: mission statement, charter, minimum viable product and negotiation technique. Through case studies and practical examples, the author demonstrates the various ways these concepts applied to the planning, presentation and evaluation of the ensemble's concert season. The author concludes the concert season was moderately successful as it met the goals outlined in the ensemble's mission statement and project charters but also identifies areas of improvement for future seasons. In addition, the author recommends further research into the role of arts entrepreneurship in the modern music curriculum.

Committee: David Bruenger DMA (Advisor); Russell Mikkelson DMA (Committee Member); Wayne Lawson Ph.D. (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2008, College-Conservatory of Music : Bassoon

Bassoon teachers can currently choose from only a few method books, most of which are not designed for the true beginner. Many are largely outdated, and contain insufficient and sometimes incorrect information. This document attempts to rectify the situation with the creation of a new curriculum for beginning bassoon instruction. The philosophical and technical underpinnings for this new curriculum are borrowed from the Talent Education method of Shinichi Suzuki. While the Suzuki Method is known mostly for its success in teaching very young students, its philosophy is widely applicable, and has been adapted for use in teaching various orchestral wind instruments. There are some elements of Suzuki instruction which lend themselves well to being included in a method book, while some elements must be left to individual teachers. Both categories are discussed in detail. I also suggest the use of the mini-bassoon, or tenoroon, in teaching younger and smaller students.

Committee: William Winstead (Committee Chair); Dr. Mark Ostoich (Committee Member); Dr. Ann Porter (Committee Member) Subjects: Music; Music Education

Doctor of Musical Arts, The Ohio State University, 2009, Music

There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style.

Committee: James Pyne (Committee Chair); Alan Green (Committee Co-Chair); James Hill (Committee Member); Robert Sorton (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2009, Music Composition

Missa ad honorem Sancti Francisci for SATB choir, soloists and woodwind quintet is in the five standard movements of the Catholic Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. The composition honors St. Francis of Assisi and uses pitch material derived from the Introit of his feast day. The work is approximately 20 minutes in length.The motives in the Kyrie are simple and become more complicated by the end of the movement. The Introit of the feast serves as the cantus firmus and is initially presented in the bassoon. The Gloria moves away from the open tonalities and chant-like style of the Kyrie into more polyphonic and harmonically complex sections. Both the Gloria and the Sanctus feature vocal soloists, who simultaneously sing fragments from the English texts of The Prayer of St. Francis of Assisi and the Canticle of the Sun over the Latin texts of the Mass. The Credo is a microcosm of the entire piece, with a simple beginning and ending and a complex middle section. It uses sotto voce and spoken word as text painting effects. The Sanctus breaks from a somber opening into a joyous, boisterous statement at the “Hosanna.” The Agnus Dei is a mirror image of the Kyrie. It opens with polyphony of line and color, and slowly thins into a monophonic, chant-like texture. The Mass draws on many influences, both contemporary and medieval. It is a fusion of old and new, a voice that draws on both the past and the present while looking to the future. My goal is twofold: to glorify a higher power through honoring St. Francis and his ideals of love and peace, and to serve these ancient texts that have provided prayer and song to many others.

Committee: Marilyn Shrude Dr. (Advisor); William Skoog Dr. (Committee Member) Subjects: Composition; Music

Doctor of Musical Arts, The Ohio State University, 2013, Music

From the woodwind quintet comes a smaller chamber group known as the reed trio. The combination of the oboe, clarinet and bassoon results in an ensemble that is abundant in contrast of tone color. The literature for this instrumentation is a very demanding category of woodwind chamber music due to the potential virtuosity of the instruments involved. Unfortunately, little research has been done on this topic, and the genre is not well-known. The reed trio ensemble became popular in the early twentieth century, partially due to the formation of the Trio d'anches de Paris (Paris Reed Trio). The group was formed by bassoonist Fernand Oubradous in 1927, and included oboist Myrtil Morel and clarinetist Pierre Lefebvre. Several composers dedicated their reed trios to the famous bassoonist and his reed trio. Another reason for the popularity of the reed trio as a genre was because of the interest of Louise B.M. Dyer-Hanson, founder of the publishing company Editions de l'Oiseau-Lyre. She enjoyed the sound of the reed trio, and commissioned several composers to write for the medium during the 1930s. In 1971 James Gillespie published The Reed Trio: An Annotated Bibliography of Original Published Works, a compilation of reed trios composed between 1897 and 1968. He provided annotations for each piece, and included a brief history of the reed trio genre with information about influential trio ensembles such as the Trio d'anches de Paris and the Rene Daraux Trio d'Anches. This document builds on Gillespie's list, including reed trio compositions published since 1968. Also included are analyses of three contrasting reed trios, two of which are widely considered to be standard repertoire for the medium while the third is a relatively recent composition. Jacques Ibert's Cinq Pieces en Trio (1935) and Jean Francaix's Divertissement (1947) were both early works for the medium that are stylistically contrasting. Martin Schreiner's Anatomy and Variations of the Sirens' Son (open full item for complete abstract)

Committee: Russel Mikkelson (Advisor); Karen Pierson (Committee Member); Robert Sorton (Committee Member) Subjects: Music