Concerto for bassoon and orchestra, op.75 / Carl Maria von Weber -- Concerto in E minor / Antonio Vivaldi -- Parable for solo bassoon / Vincent Persichetti -- Concerto in B-flat major / Wolfgang Amadeus Mozart. / text

Festival variations / Claude T. Smith -- Lincolnshire Posy, Rufford Park poachers / Percy Grainger -- American Salute / Morton Gould -- Dionysiaques / F. Schmitt / text

Lecture: The process of collaboration between composer, choreographer, and instrumental soloist -- Creature of habit -- Invocation for solo bassoon / Spencer Lambright / text

Divertissement / Jean Francaix -- Sonata for piano and violoncello in E minor / Johannes Brahms -- Sonata in D minor / C. P. E. Bach -- Portugesa / Henri Busser -- Concertino / Francisco Mignone. / text

Sonata Abassoonata / P. D. Q. Bach -- Rhapsody for bassoon and small orchestra / Walter Mays -- Sonata in A major / Cesar Franck -- Papagena, Papageno from The magic flute / W. A. Mozart. / text

The lecture-recital, The Development of Woodwind Fingering Systems, traces the evolution of devices for controlling the pitch produced by woodwind instruments from prehistoric times to the present. The addition of keys, and the evolution of collections of individual keys into coordinated systems is particularly stressed, as are the various physical, physiological, and cultural forces which determined the directions of development of these systems. The similarities between the fingerings of various woodwind instruments are explained, a system of numbers is introduced in order to clarify these similarities, and a projection of some possibilities for future development of woodwind fingering systems is offered.

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded June 16, 1997, June 29, 1998, June 25, 2001, and Mar. 4, 2002. Includes bibliographical references (p. 51-52).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed Aug. 10, 2009). Directed by Michael Burns; submitted to the School of Music. Includes bibliographical references (p. 107-112).

Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.

The Pulitzer Prize in Music has been associated with excellence in American composition since 1943, when it first honored William Schuman for his Secular Cantata No. 2: A Free Song. In the years that followed, this award has recognized America's most eminent composers, placing many of their works in the standard orchestral, chamber and solo repertoire. Aaron Copland, Samuel Barber, Walter Piston and Elliott Carter are but a few of the composers who have been honored by this most prestigious award. Several of these Pulitzer Prize-winning composers have made significant contributions to the solo and chamber music repertories of the bassoon, an instrument that had a limited repertoire until the beginning of the twentieth century. The purpose of this project is to draw attention to the fact that America's most honored composers have enlarged and enriched the repertoire of the solo bassoon and bassoon quartet. The works that will be discussed in this document include: Quartettino for Four Bassoons (1939) - William Schuman, Three Inventions for Solo Bassoon (1962) - George Perle, Canzonetta (1962) - John Harbison, Metamorphoses for Bassoon Solo (1991) - Leslie Bassett and “How like pellucid statues, Daddy. Or like a . . . an engine” (1994) - John Corigliano. Each chapter will include a brief biography of the composer, a historical perspective of where that composition lies in relation to their other works, background information about the work, a formal analysis and suggestions for performance.