Treatise (DMA)--Florida State University, 2003. / Advisor: Jeff Keesecker, Florida State University, School of Music. Title and description from treatise home page (viewed 11-19-03). Document formatted into pages; contains 129 pages. Includes biographical sketch. Includes bibliographical references.

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Thesis (Ph. D.)--Sydney Conservatorium of Music, University of Sydney, 2009. / Title from title screen (viewed July 3, 2009) Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in performance to the Conservatorium of Music, University of Sydney. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2004. / Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 74 pages. Includes biographical sketch. Includes bibliographical references.

Spanish settlers brought the precursor to the bassoon, el bajón, to Mexico in the late sixteenth century. Documentation of the bassoon was intermittently from the sixteenth century on, the current playing traditions were not established until the second half of the twentieth century. Bassoon education in Mexico flourished in the 1970's because several bassoonists became expatriates, and chose to live and work in Mexico for the entirety of their careers. Two major pedagogues, Lazar Stoychev and Jerzy Lemiszka paved the way for the current Mexican bassoon community. This dissertation presents a selective lineage of bassoonists who have held positions in major Mexican orchestras and universities since the mid-twentieth century. The purpose of this study is to recognize the contributions these players and teachers have given to the bassoon world. In recent years, Mexican bassoonists have commissioned hundreds of works for the bassoon and this significant achievement has placed the Mexican bassoon community in an upward trajectory. To place these players in proper historical context, a brief history of classical music institutions in Mexico since the sixteenth century is given. This dissertation documents the history and pedagogy of recent bassoonists in Mexico via a cohesive family tree.

This document examines current practices and opportunities in the music performance field related to artistic citizenship, community engagement, and the field of teaching artistry. The relationship of musicians to their audiences and communities has shifted significantly in the twenty-first century, and there is an increasing need to redefine the essential skills of the professional musician. Derived from the field of teaching artistry, the concept of "activating artistry" suggests that our greatest strength and power as artists lies in drawing out individual artistic expression in other people, and it is with this power that artists as a workforce can create meaningful change in society. This intention could be manifested in many different contexts during the course of a given music career, however, developing the tool kit necessary for engaging in such work is not widely emphasized in the training of musicians. What tools can be provided for students and professionals to help them navigate both traditional and evolving career paths in music? How are bassoonists doing as a field in addressing the imperative of community engagement and artistic citizenship? How might we explore more collaborative ways to engage with our diverse communities – ways that value their perspectives? These questions guide an exploration of current practices in the bassoon field, with an overall goal of providing practical examples, resources, and inspiration for engaging in the work of activating artistry. Central to the discussion is the intersection of the professional bassoonist with the teaching artist field. Examples of lesson plans/strategies and ideas for curating educational performances demonstrate potential uses of the bassoon and its repertoire in teaching artist residencies and other community engagement settings.