Thesis (D.M.A.)--University of Maryland, College Park, 2006. / Compact discs.

This study explores Antal Dorati¡¦s (1906-1988) Five pieces for Solo Oboe (1980-81), a work consists of five short pieces: ¡§La cigale et la fourmie¡¨, ¡§Lettre d¡¦amour¡¨, ¡§Fugue a trois voix¡¨, ¡§Berceuse¡¨ and ¡§Legerdemain¡¨. The work illustrates a typical compositional style of Dorati. Five pieces for Solo Oboe demonstrates the composer¡¦s influence by early 20th century composers such as Arnold Schonberg and Luciao Berio. Nevertheless, the structure of piece can be related to traditional art music of Classical and late Romantic period. In addition, one witnesses the incorporation of folk idioms in the composition. The study is divided into three chapters. The first part focuses on the life and musical background and his creative outputs of Dorati. The second part analyzes the structure of selected work. As for the last part, I discuss the performance interpretation and its style.

Thesis (D.M.A.)--University of Texas at Austin, 1997. / Vita. Discography: leaf 178. Includes bibliographical references (leaves 175-177).

Arnold Cooke composed many works for oboe including two sonatas, a concerto and several pieces for chamber ensembles; however, his works are rarely performed. Through the analysis of form and tonality in his first oboe sonata, Cooke's musical style and influences become apparent. His musical style was primarily influenced by his teacher, Paul Hindemith, and can be characterized by traditional forms with the contemporary use of quartal harmonies and a variety of tertian sonorities. Cooke wrote music that is accessible for performers and audience members, and one way he achieved this accessibility is through the repetition of melodic ideas. In addition to exact melodic repetition, he also unified his works through fugue-like passages and sequences. Although he lived during a time of experimentation by many composers, Cooke maintained conservative elements in his music that he learned through his studies at Cambridge and through his studies with Hindemith. His first oboe sonata is tonal although he varied modes and used chromatic harmonies throughout. Cooke's clear writing and unique sound in his Sonata for Oboe and Piano (1957) provide oboists a solo piece for the repertoire that demonstrates a modern approach to the traditional style of composition.

The purpose of this study is to trace the development of the oboe and its use from the primitive double reed instruments to the oboes of the Baroque Period. Toward the end of this period the oboe became thoroughly established as an important section in the symphony orchestra and has remained so to the present time.

Rediscovering Edmund Rubbra through his Sonata for oboe and piano in C, op. 100 -- Sonata for oboe and piano in C, op. 100 / Edmund Rubbra. / text

Three songs, op.10 / Samuel Barber -- Sonata pour hautbois et piano / Henri Dutilleux -- Mein Sehnen, mein Wahnen / Erich W. Korngold -- Sonata for violin and piano / Johannes Brahms. / text

Undergraduate honors paper--Mount Holyoke College, 2008. Dept. of Physics. / CD contains 49 oboe tracts. Includes bibliographical references (leaves 80-81).

Thesis (Ph.D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Jun 1