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Thesis (Ph. D.)--Princeton University, 1969. / Holograph. "This composition and the essay, The delayed structural downbeat and its effect on the tonal and rhythmic structure of sonata form recapitulation, together constitute the dissertation but are otherwise unrelated." Printed on double leaves.

"Cycling" is a programmatic music work for solo bassoon with multiple mixed quartet accompaniment.

abstract: Four new duets by different composers were commissioned for this project that utilize the clarinet and bass clarinet with tenor saxophone and bassoon. The pieces are Three Southwest Landscapes by Dan Caputo, Gestures by Michael Lanci, Connotations and Denotations by Jeffery Brooks, and Lyddimy by Thomas Breadon, Jr. The present document includes background information and a performance guide for each of the pieces. The guide gives recommendations to aid musicians wishing to perform these works. Also included are transcripts of interviews conducted with each composer and performer, as well as full scores of each piece. In addition to the document there are recordings of all four pieces. / Dissertation/Thesis / Dan Caputo, Three Southwest Landscapes, I - Marvel of Ages / Dan Caputo, Three Southwest Landscapes, II - Weathered Moon / Dan Caputo, Three Southwest Landscapes, III - Abstrata / Thomas Breadon, Jr., Lyddimy / Michael Lanci, Gestures / Jeffery Brooks, Connotations and Denotations / Doctoral Dissertation Music 2014

abstract: The dearth of young bassoonists in America can be felt at every level of expertise, whether it be at professional levels where there are fewer qualified bassoonists compared to other woodwinds, or in local communities where interested pupils cannot find a teacher to guide them. In order to alleviate this scarcity, we must solve the problem at its root: young bassoonists. There have been many attempts to provide better instructional material for beginner-level bassoonists and to produce better reeds to entice more students to study the bassoon and to sustain their playing beyond the first few years. These attempts, however, fail to address another critical issue: the cost and availability of the bassoon itself. Most bassoonists in America begin their journey in public school; however, many school music programs cannot afford to purchase bassoons due to their cost. To combat this obstacle, Fox Products produced their first bassoon made of polypropylene—a synthetic material—in 1961 at a relatively low price point. This is an innovation that no other bassoon manufacturer has accomplished. An analysis of sales numbers from major instrument suppliers indicate that these bassoons have been very successful. Their availability has allowed schools to purchase instruments to educate more young bassoonists and, as a result, participant numbers of students in Texas (where public music programs are known for their strength) competing at regional and state competitions have increased over the past fifty years. Fox, through their focus on affordable student bassoons, is revitalizing young students’ interest in playing the bassoon and thus is a major factor in the reversal of the decline of bassoonists in America. / Dissertation/Thesis / Doctoral Dissertation Music 2017

abstract: ABSTRACT The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe. The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six-movement work Romanian Folk Dances by Béla Bartók. Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document. / Dissertation/Thesis / Supplemental Recordings - Appendix D / Doctoral Dissertation Music 2020

Since the early sixteenth century, the bassoon has played a role of varying importance in musical organizations. Early groups used as many as twenty-four bassoons in conjunction with other instruments. Today, it is common to have no more than two or three bassoons in bands and orchestras because other instruments, as they developed, have replaced the bassoon in the instrumentation of such groups. Although the bassoon is not as important numerically as it formerly was, its place in musical organizations is assured because it has expressive colors and tonal qualities which cannot be duplicated by any other instrument. The bassoon is especially important as a bass instrument in small ensembles.

The use of audio recording and playback as a way of consuming music has become as widely accepted as the use of a concert stage. Many professional classical ensembles task themselves with producing recordings regularly. At the same time, it is becoming more necessary for performing musicians to have the skills and understanding of recording technology to create their own content and evaluate their playing and the playing of others. While many publications provide detailed knowledge and assistance for recording violins, guitars, and voices, little attention has been given to the bassoon. The historical context for how the bassoon has developed within the realm of recorded music remains unexplored. Additionally, the acoustic characteristics of the bassoon are oftentimes generalized with the qualities of other woodwind instruments, and the techniques employed by audio engineers and recording studios are not analyzed in the context of the instrument’s unique properties. The purpose of this paper is to provide bassoonists and audio engineers with a more comprehensive understanding of how the bassoon performance behaves in the recorded environment. Information regarding historical background, instrumental acoustics, and recording techniques will be compiled and uniquely centered around the experience of recording the bassoon. In addition, observational analysis of recorded performances will verify hypotheses made by the compiled research and demonstrate how recordings may be analyzed through the lens of this newly acquired information. The result of this research is a collection of unique instances, from both the past and present, of interaction between bassoon performance and the recorded medium which have otherwise been unappreciated. / Music Performance

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