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Although long-neglected, the topic of Handel's operatic oeuvre has in recent years gained new currency. Of interest to oboists is the great amount of soloistic writing for the oboe in the arias of his operas which takes the form of obbligato solos. From this body of works approximately twenty operas contain soloistic writing for the oboe in conjunction with the voice. The rationale for the investigation of this topic is two-fold: first, to make oboists aware of the availability of this body of literature, and second, to explore the manner and extent to which Handel used the oboe as an obbligato instrument. Topics covered include the instrumental make-up of Handel's orchestra and a brief history of the obbligato aria beginning with the early trumpet arias. An examination of Handel's compositional technique precedes a detailed analysis of six examples of varying style. The conclusion considers the aesthetics of performing these pieces out of context in light of historical practice and perception.

In contemporary Damascus, the modern oboe and an instrument known as its predecessor, the zurna, are heard on a daily basis as they continue to be employed in Syrian popular and folk music practices. After observing the pervasiveness of the sounds of these instruments in Syria, I proceeded to investigate the socio-cultural processes surrounding their usage. This study provides a history of the zurna, traces its development in Europe into the modern oboe, and explores the oboe's re-entry into musical practices in the Middle East. Through empirical fieldwork, I collected data that allowed me to observe the social significance of the sounds of these instruments for musicians and listeners alike in the Greater Damascus area. Using Jonathan Shannon's modernity improvisation model (Shannon 2006) as a departure point, I analyze the way Syrians use instruments such as the zurna and oboe in seemingly diverging ways to create their own "modern" subjectivities. Additionally, I demonstrate how these sounds reflect what Clifford Geertz refers to as the inevitable struggle between essentialism and epochalism in post-colonial nations such as Syria (Geertz 1971) through the analyzation of discourse surrounding instruments so deemed "modern" or "authentic" (such as the oboe and zurna, respectively) in contemporary Syrian society. Musical examples are included in order to demonstrate performance practice and provide perspective on the music theory behind the ways composers and musicians include the sounds of the oboe and zurna in particular works and genres.

These compositions published commercially by Boosey & Hawkes. / 1 score (1 v.) ; / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2002

Thesis (D. M. A.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 138-140).

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

Det här arbetet handlar om hur jag utvecklar mitt oboespel och min musikaliska förståelse för två stycken: Mozarts oboekonsert (sats 1 och 2) och Strauss oboekonsert (sats 1). Anledningen till att jag har valt just dessa stycken är att de vanligtvis är obligatoriska på provspelningar. Eftersom jag gärna vill ha ett orkesterjobb måste jag först vinna en provspelning. Syftet är därför att utvecklas både tekniskt och musikaliskt för att öka mina chanser att vinna en provspelning. Jag har även valt att spela Mozart på min examenskonsert för att sen kunna jämföra provspelningssituationen med konsert- situationen.Metoden jag har valt är att göra inspelningar för att sen lyssna och analysera vad jag kan förbättra. Dessutom ska jag åka på provspelningar och utvärdera min insats samt försöka få kritik från juryn.Jag har genomfört inspelningar vid fem tillfällen under ett års tid och under samma period varit på fyra provspelningar.I slutsatsen kom jag fram till att jag i den sista inspelningen spelar mer rytmiskt och har bättre intonation. Jag märker också en stor utveckling i linjen i mitt spel och hur jag får fram fraseringarna. Utvecklingen har också påverkat spelet i konsertsituationen på ett positivt sätt framförallt när det gäller faktorer som tekniska aspekter och automatisering. De här faktorerna har förbättrat helheten och mitt spel har blivit mer intressant att lyssna på. / <p>Bilaga: 1 CD och 1 DVD</p><p></p>

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Mar. 01, 2010). Creative project (M.M.), 3 hrs. Includes bibliographical references (p. 22-23).

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.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1994. / For oboe, clarinet in A, viola, violoncello, and piano. Typescript. Includes performance notes. eContent provider-neutral record in process. Description based on print version record.