Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 149-152).

Karin Rehnqvist (f. 1957) är idag en av Sveriges främsta kompositörer och hon är välkänd även internationellt. År 2000 skrev Rehnqvist stycket Till Ängeln med de brinnande händerna till den amerikanska oboisten Cynthia Green Libby. I detta examensarbete analyseras innehållet i stycket med instudering och kringarbete. Syftet med studien var att få en inblick i nutida musik och få en djupare förståelse av stycket. Dessutom att utvecklas som solist framför en ensemble. Resultatet var först och främst en fantastisk konsert men också ett sätt att analysera verk för djupare förståelse som jag kommer kunna använda i mitt framtida musicerande. Här finns en djupdykning i Karin Rehnqvist stycke Till Ängeln med de brinnande händerna som förhoppningsvis får såväl musiker som publik att upptäcka stycket. Det kan vara till stöd som källa för bakgrundsbeskrivning av verket, musikanalys samt även spelteknisk hjälp.

This subject has been chosen by the writer for the purpose of discussing these problems of performance, arising with the composition, the St. Matthew Passion, by J. S. Bach. Since Bach was a German and wrote in that language, the edition used is called the American edition. The performances in America are, with few exceptions, based upon translations which must be accurately edited so as not to obscure Bach's intentions.

Title from accompanying document. / C. Massimino, alto saxophone ; S.E. Royall, piano ; A. Westgate, harpsichord and celeste ; V. Pugh, violoncello ; D. Nottingham-Heerman, mezzo-sop. ; B. Dropkin, guitar ; K. Fensholt, oboe ; L. Tharpe, flute ; F. Schwab, harp ; J. Rahjten, audio engineer. / Digitized by Kansas Correctional Industries

The music of the late baroque composer Jan Dismas Zelenka (1679- 1745) was not widely circulated during his lifetime. In the late twentieth century, Zelenka's music experienced a revival due to the rediscovery of his sonatas for double reed ensemble. The thesis examines the stylistic, generic, and historical context for Zelenka's Sonata V (ZWV 181, no. 5), tracing the development of the ensemble sonata for double reeds at the Augustan court. Chapter One focuses on Zelenka's life, as well as the purpose and dating of the six ensemble sonatas for obbligato double reeds (ZWV 181). The subsequent chapter surveys the national styles that were assimilated into the compositional traditions of the Dresden hofkapelle in the early 18th century. The role of the oboist within the court musical establishment and the social status of the hofmusicus are discussed. Chapter Three considers the precedents for and influences on Zelenka's Sonata V, particularly with respect to its inclusion in the little known genre of the sonata auf concertenart. These sonatas in the manner of a concerto adopt the formal outlines of Vivaldi's concertos and concerted sonatas while obscuring the distinctions of genre between the sonata and concerto through the treatment of scoring and texture. Zelenka's Sonata V follows the style of an early sonate auf concertenart of Vivaldi. Zelenka's concerted sonata departs from its model by confounding the identity of the initially distinct ritornello and solo material. The specific use of the oboe in Zelenka's sonatas, including playing techniques, and the degree of specialization are discussed. The conclusion speculates as to why Zelenka's music quickly fell out of favor and why even the composer himself was treated in a critical manner only a few generations after his time at Dresden. An understanding of the Dresden court not only provides a window on Zelenka's music, but also explains its almost immediate eclipse following his death. / text

This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is scored for solo viola and chamber orchestra. A cassette copy of the recital is available with this book. / Arts, Faculty of / Music, School of / Graduate

"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.

The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.

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