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The purpose of this project was to create a beginner-level oboe method book that provides equal attention to both the instrumental and musical concepts necessary for a beginner oboist. The existing literature for beginning oboe students focuses on two specific settings: full band classrooms, where students are playing and learning

The purpose of this project was to create a beginner-level oboe method book that provides equal attention to both the instrumental and musical concepts necessary for a beginner oboist. The existing literature for beginning oboe students focuses on two specific settings: full band classrooms, where students are playing and learning the instruments together, and private lesson settings, where one or a group of oboe students are focused on learning to play the oboe. Books written for band settings typically focus on teaching the students how to function as a part of the band, with extensive coverage of musical concepts; conversely, books for private lessons often assume a basic level of musical knowledge by the student, and focus heavily on how to play the instrument. This project provides the basis for a new book that combines these elements into a document that both band and private instructors would be able to use.

I began my project by collecting all of the extant beginner-level method books for the oboe, dividing them into those for band settings and those for lesson settings. I then created a detailed survey to analyze each book's contents so that in the new book I might address any and all shortcomings in the existing literature. I then distilled the results of this survey into charts, so that any teacher could look at the contents of each book and see how said book fits within the results. Once this was finished, I created an outline for the new method book, listing the contents of the front material, lessons, and back material. My outline sequences the musical and instrumental material together, providing students with all of information necessary to become a successful beginning oboist. I stopped short of selecting music or creating the book's layout, but my goal is to publish the completed book within the next year.
ContributorsAikens, William (Author) / Schuring, Martin (Thesis advisor) / Gardner, Joshua (Committee member) / Carpenter, Ellon (Committee member) / Arizona State University (Publisher)
Created2014
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Description
The purpose of this thesis is to examine the events surrounding the creation of the oboe and its rapid spread throughout Europe during the mid to late seventeenth century. The first section describes similar instruments that existed for thousands of years before the invention of the oboe. The following sections

The purpose of this thesis is to examine the events surrounding the creation of the oboe and its rapid spread throughout Europe during the mid to late seventeenth century. The first section describes similar instruments that existed for thousands of years before the invention of the oboe. The following sections examine reasons and methods for the oboe's invention, as well as possible causes of its migration from its starting place in France to other European countries, as well as many other places around the world. I conclude that the oboe was invented to suit the needs of composers in the court of Louis XIV, and that it was brought to other countries by French performers who left France for many reasons, including to escape from the authority of composer Jean-Baptiste Lully and in some cases to promote French culture in other countries.
ContributorsCook, Mary Katherine (Author) / Schuring, Martin (Thesis director) / Micklich, Albie (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Music (Contributor)
Created2015-05
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Description
Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions,

Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions, they too become inspired to implement these techniques in their own playing. There is a need for broader selections of introductory to intermediate compositions with saxophone extended techniques. It is the goal of this project to expand this repertoire for pre-college and early-college saxophonists. These target-level saxophonists are those who have already begun their studies in extended techniques. Three commissioned composers have contributed pieces for this target level of saxophonist with the purpose of bridging the gap between first attempts of extended techniques and the advanced pieces that already exist. Saxophonists who have the standard techniques to perform compositions such as Sonata for E-flat Alto Saxophone and Piano by Paul Creston will be suited to approach these compositions. In addition to the compositions, the author has composed short warm up exercises, utilizing selected extended techniques. A professional recording of the resulting compositions and exercises are also included. The enclosed document will provide a performer's analysis to help instructors of potential performers navigate the extended techniques and provide insight on other challenging aspects of the compositions. It is not the intention of the following document to teach the individual techniques.
ContributorsCharbonneau, Christopher Michael (Author) / Creviston, Christopher (Thesis advisor) / Feisst, Sabine (Thesis advisor) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project features three new pieces for oboe commissioned from three different composers. Each piece explores styles and/or instrumentations that are less common in the current body of repertoire. These pieces are Scenes for Charlie by Bryan Kennard, Love’s Last Gift by Thomas Juneau, and But Joy Comes in the

This project features three new pieces for oboe commissioned from three different composers. Each piece explores styles and/or instrumentations that are less common in the current body of repertoire. These pieces are Scenes for Charlie by Bryan Kennard, Love’s Last Gift by Thomas Juneau, and But Joy Comes in the Morning by William Brusick. A performance guide has been included for each piece, providing tips and suggestions for musicians wanting to perform these pieces in the future. In addition to the performance guide, each composer answered a list of interview questions to provide background information and give insight into their compositional process. Accompanying this document are recordings performed by the author.
ContributorsSummers, Season (Author) / Schuring, Martin (Thesis advisor) / Gardner, Joshua (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2021