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Introducing the Oboe D'amore to the Woodwind

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This project describes the process of creating an arrangement of Gustav Holst's "Second Suite in F for Military Band," to include the oboe d'amore. The oboe d'amore is a member of the oboe family which is not often used in

This project describes the process of creating an arrangement of Gustav Holst's "Second Suite in F for Military Band," to include the oboe d'amore. The oboe d'amore is a member of the oboe family which is not often used in the modern day. Also included are a score, 5 individual parts, and a digital audio file of the arrangement.

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2020-12

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The Invention of the Oboe and its Spread through Europe

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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

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.

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2015-05

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De Oriendo

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De Oriendo is a project devoted to a better understanding of the word "original" as it pertains to musical composition. It began as a way for me to try to tackle a twofold fascination that has been with me for

De Oriendo is a project devoted to a better understanding of the word "original" as it pertains to musical composition. It began as a way for me to try to tackle a twofold fascination that has been with me for the duration of my time at ASU, though I have not always been aware of it. The first half of this fascination is an enduring interest in tracing borrowed material used by composers and other artists throughout history. It seems that almost every research project I have undertaken in the last four years has had something to do with this concept. Scholars like Winton Dean, J. Peter Burkholder, and Sigmund Spaeth have spent parts of their careers charting out the genealogy of historical compositions, uncovering reused melodies and harmonic progressions in the process; the cases of it are countless, even among the most identifiable composers and songwriters. Since there is scholarship clearly demonstrating secondhand ideas in music, it becomes problematic to assume that the word "original" simply describes something completely new, that is, something that does not use material heard or seen before. The second half is more of a personal ambition: I thought that if I truly knew what composers and critics meant when they labeled a piece or an artist as original, then I could somehow find a way to achieve this distinction in my own attempts at composition and avoid that uninteresting, derivative sound I have always feared.

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2012-12