Treatise (D.M.A.) Florida State University, 2006. / Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 67 pages. Includes biographical sketch. Includes bibliographical references.

Libby Larsen has written three pieces for the bassoon as a featured solo instrument. These pieces are Jazz Variations for Solo Bassoon (1977), Concert Piece for Bassoon and Piano (2008) and full moon in the city (2013). This document examines the origin, style, and form of these works to provide performers further information. Highlighted is Larsen's use of American vernacular elements in the pieces. American vernacular in this document refers to the use of influences derived from American culture, music, and language.

This document demonstrates that study and performance of newly-composed versions of four etudes from Ludwig Milde's Concert Etudes, Op. 26 (publ. post. 1935) can prepare advanced bassoon students for performance of not only the etudes themselves (which includes advanced techniques such as rapid single tonguing, double tonguing, difficult slurring, tapering, an execution of complicated scales and arpeggios in the context of a musical passage, half-hole, vibrato, flicking, and control of long notes in extreme registers), but also can be used to address both performing and technical issues not covered in Milde's study, such as the problems posed by ensemble playing, tone-color, and rhythm.The project analyzes a selection of four etudes from the Concert Etudes, Op. 26 in terms of harmony and form, explores the technical difficulties found in each one of them and their possible approaches, and provides arrangements for two bassoons, bassoon and piano, and bassoon quartet, giving the student a new palette of options for the study of the Concert Etudes, Op. 26 and new devices for the improvement of various techniques.

Thesis (M.M.)--Boston University

Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen. Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period. While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.

This recital features three members of the woodwind family: clarinet, flute, and bassoon. The primary focus of this recital is on the clarinet repertoire. The music ranges across the eras, from Baroque to 20th Century, and is written by composers from North America and Europe. Along with the wide range of compositional styles, the music presents the virtuosity and range of the woodwind family. Brahms��� Sonata for Clarinet and Piano, No. 1 demonstrates a very classical approach to the clarinet after he was inspired by clarinetist Richard M��hlfeld. Harvey���s Three Etudes on Themes of Gershwin focuses more on a jazz and theatrically inspired side of the clarinet. Copland���s Clarinet Concerto, composed for Benny Goodman, incorporates classical, jazz, and North and South American elements. All of these works exemplify the woodwind family and their capabilities. / Mary Pappert School of Music / Music Performance / MM; / Recital;

This creative project is a composition in three movements for woodwind quintet (piccolo replacing flute in the second movement). The work is a serial composition based on the following all-combinatorial row: C, E, E-flat, D-flat, F, D, F-sharp, G, B-flat, A, B, 4-sharp. The first movement is in ternary form, its B section is a palindrome consisting of new versions of the material occurring in the first A section. The second A section is a varied, rather than exact, estatement of the first part. The second movement is a five part canon with each instrument being assigned its own octave. The third movement is a rondeau. The shape and length of its parts was determined by a systematic application of the F1 bonacci series to every formal element. The duration of the Quintet is approximately 20 minutes. / School of Music

Sonata for bassoon and piano, op.9 / Gustav Schreck -- Six songs from A Shropshire lad / George Butterworth -- Hungarian dance no.19 ; Waltz op.39, no.3 ; Hungarian dance no.8 / Johannes Brahms -- Sonata for cello and piano, op.19 / Sergei Rachmaninoff / text

The purpose of this study is in one part to observe the evolution of the wind octet genre and another to research the evolution of the bassoon's role in this ensemble. Specifically the essential role of the two bassoons are revealed by showing that they are the only pair of instruments that remain intact in the wind octet ensemble from the time of Mozart to the time of Stravinsky. Because of this, they provide the wind octet it's characteristic sound. To illustrate these points, two significant wind octets were examined in detail: The Serenade in Eb, K. 375 (1782) by Mozart and the Octet for Winds (1923/revised 1952) by Stravinsky. Despite the long time span between these two works, and the obvious changes in instrumentation, the Octet for Winds by Stravinsky could be called an evolved version of the earlier traditional wind octet. The research within illustrates how the writing for the bassoons changed and stayed the same as related to range, articulation, technical demands, interaction and blending, idiomatic features and role between the years of 1782 and 1923. Other octets that fall between these dates were examined to demonstrate this evolution. Also, in order to have a better understanding of the Serenade by Mozart and Octet for winds by Stravinsky, their symphonic works were analyzed to determine how each composer wrote for the bassoon in other genres and this is compared to the use of the bassoon in their octets.

This creative project has made a survey of chamber music for bassoon and strings. A representative listing of chamber works for this combination has been included in the work. The listing tells the name of the Composer, his dates, the title of the composition, instrumentation, publisher, and. the composer's nationality.The project has made an analysis of two significant chamber compositions for bassoon and strings. The works analyzed in this project area: Variations on an Ancient Melody, and Karl Almenrader, and Quartet in C Major Opus 73 No. 1, Francois Devienne.In addition to a survey of chamber music for bassoon and strings, the project has male a comparison to other wind-string combinations.The final part has made an analysis of the preparation and performance aspects of the Gordon Jacob Suits for Bassoon and String Quartet. / School of Music