Thesis--University of Oregon. / Vita. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1977. -- 21 cm. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 162-166).

Thesis--University of Oregon. / Vita. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1977. -- 21 cm. Includes bibliographical references (leaves 162-166). Also issued in print.

Since the rise of the "Stile Rappresentative" early in the seventeenth century, the composer has made definite and increasing demands on specific performance and tonal combination of instrumentalists which has materially affected the developnent in technique and, consequently, the improvement in construction and design of every musical instrument. The monodic "Stile Rappresentative" required expressive instruments with an extensive range to match the singers and, consequently, many instruments of the Renaissance period were rendered obsolescent. For instance, the shawms, pommers and crumhorns disappeared from concerted music-making with the exception of military and outdoor use, mainly in German windbands. More flexible instruments were required, and thus cornetts, flutes (mainly recorders and fipple-flutes), oboes and bassoons came gradually into their places, which for the main part they have occupied in the orchestra ever since that time. The String sections, too, underwent radical changes. A gradual metamorphosis from the Consort of Viols to the Violin Family took place following the work of the craftsmen Gasparo da Salố (1540 - 1609) and Giovanni Paolo Maggini of Brescia, perfected by the famous Cremonese school founded by Andrea Amati and continued by Stradivarius.

Thesis (D. Mus. Arts)--University of Washington, 2004. / Vita. Includes bibliographical references (leaf 249).

No description available.

Thesis (M.A.). / Written for the Music Technology Area, Department of Theory, Schulich School of Music. Title from title page of PDF (viewed 2008/05/12). Includes bibliographical references.

The research investigated the conception of the early bassoon in the late 1600’s and its subsequent development through to the modern day. It explored the technical evolution of the bassoon and its impact upon solo compositions1 and performance. The recital repertoire was chosen to demonstrate the changing capabilities of the instrument associated with each evolutionary phase, and to show how an understanding of these changes helps to place accepted modern techniques into an historical context. The submission consists of two recital CDs which are supported by an exegesis. The exegesis outlines the ways in which the performer’s musical interpretation is enhanced through an understanding of the instrument’s developmental history. It is also a commentary of the musical and technical issues faced by the author whilst preparing and performing the repertoire. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351017 / Thesis (M.Mus.) - University of Adelaide, Elder Conservatorium of Music, 2008

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 187-199). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 227-233). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 227-233). Also available on the Internet.