Adagio und Allegro op. 70 är ett stycke för valthorn och piano av Robert Schumann (1810– 1856). Den skrevs 1849 av Schumann, ett år som han ägnade mycket åt att skriva för soloinstrument med piano. Adagio und Allegro finns även utgivet för andra soloinstrument än valthorn, bland annat violoncell, violin, oboe och tuba. Syftet med studien är att utföra en interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano som jag vill ha det rent musikaliskt och inte för att jag spelar valthorn. Jag kan uppleva att vi ibland styrs lite för mycket av vilket instrument vi spelar, att det ibland står i vägen för vår musikaliska interpretation. Jag har valt tre instrument jag kommer studera, dessa är valthorn, oboe och cello. Jag har jämfört notutgåvor, med utgångspunkt från min hornutgåva och inspelningar från tre instrumentalister per instrument. Detta för att försöka få en bred bild av hur stycket tolkas på olika instrument. Jag upptäckte att det finns en hel del skillnader mellan notutgåvorna. De flesta av skillnaderna är för att anpassa verket efter det instrument som ska spela. Dock innehöll oboestämman betydligt fler och större nyansskillnader än horn- och cellostämman. Mellan instrumentalisterna jag lyssnade på var det också stor skillnad. Jag upplevde att cellisterna generellt spelade mest uttrycksfullt och expressivt, men också att det varierar från musiker till musiker. Min slutsats av detta är att vi lätt låter vårt instrument styra mer än vi tror över vår interpretation. Dock upplever jag att flera av de modernare instrumentalisterna är lite mer fria än de äldre. Att vi mer och mer söker den tolkning vi vill ha musikaliskt och inte styrs av hur man ”bör” spela. Jag anser att vi går åt rätt riktning. / <p>För fullständig info om examenskonserten, repertoar samt medverkande se bilaga med programmet. I ljudfilen finns endast <em>Adagio und Allegro </em>op. 70 av Robert Schumann med. Där spelar Alma Heinemann valthorn och Katarina Ström-Harg piano. Ljudfilen är från konserttillfället.</p>

by Lee Chui Ling. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1994. / Preface --- p.1 / Chapter I. --- Twinkling --- p.3 / Chapter i) --- Analysis-----Introduction --- p.4 / Chapter ----- --- Formal structure / Chapter ----- --- Musical elements / Chapter ii) --- Score (with performance notes) --- p.8 / Chapter II. --- Emancipation --- p.14 / Chapter i) --- Analysis 226}0ؤ Introduction --- p.15 / Chapter ----- --- First movement ~ Formal structure / Chapter ~ --- Orchestration / Chapter ----- --- Second movement ~Formal structure / Chapter ~ --- Harmony / Chapter ----- --- Third movement ~ Formal structure / Chapter ~ --- Musical elemets / Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25 / Chapter III. --- Once Upon a Time --- p.105 / Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106 / Chapter ----- --- Formal structure / Chapter ----- --- Scale / Chapter ----- --- Quotation / Chapter ii) --- Score (with performance notes) --- p.111

Includes bibliographical references (leaves 19-45). / Digitized by Kansas Correctional Industries

by Lo Hau Man. / Thesis (D.Mus.)--Chinese University of Hong Kong, 1998. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web.

The paper details and discusses the compositional issues and techniques employed in the candidate's M.Mus. Thesis Composition Filigranes pour les Freres Limbourg. The piece takes its title and inspiration from the work of the fourteenth-century master-illuminators and also makes reference to music of the same period, while at the same time being grounded in a post-serial aesthetic. The composition's relationship to these models and the specific compositional processes derived from the resulting fusion of certain aspects of mediaeval music (including modality and numerology) with serial technique are described and illustrated. Special emphasis is placed on the interaction of abstract organisational principles (such as permutation) and their musical results.

This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.

Thesis (Ph. D.--Music)--University of California, San Diego, 2006. / First work for 2 flutes, 2 clarinets, violoncello, and piano; 2nd for oboe and violin solo with 2 trumpets, horn, trombone, crotales, vibraphone, and percussion. Vita. With sound recording (1 sound disc : digital ; 4 3/4 in.) containing thesis works.

abstract: The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected in June 2009. Her work, titled Forecast, was completed in October of 2009 and premiered in February of 2010, as part of a program showcasing music for oboe and percussion. Included in this document is a detailed biography of the composer, a description of the four movements of Forecast, performance notes for each movement, a diagram for stage set-up, the full score, the program from the premiere performance with biographies of all the performers involved, and both a live recording and MIDI sound file. The performance notes discuss issues that arose during preparation for the premiere and should help avoid potential pitfalls. TrevCo Music, publisher of the work, graciously allowed inclusion of the full score. This score is solely for use in this document; please visit the publisher's website for purchasing information. The commission and documentation of this composition are intended to add to the repertoire for oboe in an unusual instrument pairing and to encourage further exploration of such combinations. / Dissertation/Thesis / Forecast - Mvt 1: Clouds Descending (LIVE) / Forecast - Mvt 2: Rain Dance (LIVE) / Forecast - Mvt 3: Whirlwind (LIVE) / Forecast - Mvt 4: Tempest and Resolution (LIVE) / Forecast - Mvt 1: Clouds Descending (MIDI) / Forecast - Mvt 2: Rain Dance (MIDI) / Forecast - Mvt 3: Whirlwind (MIDI) / Forecast - Mvt 4: Tempest and Resolution (MIDI) / D.M.A. Music 2011

Syftet med studien var att finna lösningar i en begränsad repertoar för oboe, genom att belysa musik komponerad för violin av den ouppmärksammade kvinnliga tonsättaren Marion Bauer. Syftet var i förlängningen att inspirera andra musiker att utföra liknande studier. Detta genomfördes metodiskt genom konstnärliga val baserade på musikanalys och transkription till oboe av Bauers verk Up the Ocklawaha, Op. 6 som komponerades för den kvinnliga violinisten Maud Powell. Vidare egna inspelningar, musikhistoriska studier och intag av andra verk, såsom Clara Schumann-Wiecks tre romanser för violin och piano, Op. 22. I transkriptionen identifierades utmaningar i form av dubbelgrepp och flageoletter för violin. Studiens resultat påvisar lösningar genom konstnärliga val som prioriteringar av bärande meloditoner och oktaveringar. Resultatet indikerar att transkriptionen var fullt genomförbar genom noga övervägda konstnärliga val trots tekniska utmaningar. Studiens övergripande resultat belyser vikten av att framhäva kvinnliga kompositörer som annars i tillräcklig grad inte uppmärksammas.

Military music in Sweden in early modern times is an understudied area of research. Shawm and oboe playersat Swedish regiments during the reigns of Charles XI and XII have previously not been the focus of aconfined study. This study aims to highlight these musicians and their place within Sweden’s musical life ofthe period. The study comprises five sections looking at different aspects of the shawm and oboe players work andlife within the military. Theses aspects include employment, work assignments, education, instruments, andrepertoire. Information on these topics was collected from various contemporary sources, e.g. muster rollsand letters to and from the regiments. The study takes the viewpoint that military music was an integral partof noble culture and identity. The study shows that these shawm and oboe players were an important part of Swedish musical lifeand highlights these musicians’ ties to the noble officers. Likewise, it suggests that shawm and oboe playersin Europe were important for the spread and dissemination of music and musical instruments.