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The Invention of the Oboe and its Spread through Europe

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

An Exploration of Multicultural Musicianship through Composition and Performance

Description
“In what ways can I engage an audience of primarily western musicians in experiencing a new musical world in dialogue with the one they know?” The author begins by asking himself this question. He describes a project which will answer this question, then selects and focuses on a single aspect…

“In what ways can I engage an audience of primarily western musicians in experiencing a new musical world in dialogue with the one they know?” The author begins by asking himself this question. He describes a project which will answer this question, then selects and focuses on a single aspect of this project: the arranging of three pieces from Kenzou Hatanaka’s Iyonokuni Matsuyama Suigun Daiko for woodwind quintet and taiko from its original orchestration for band and taiko. Emphasis is placed on creating an enticing multicultural work that equally presents western and Japanese influences, and the author’s compositional process and considerations are explained. A discussion of what the author learned about multiculturalism and himself concludes.
ContributorsBerry, Tanyon Hideki Lane (Author) / Schuring, Martin (Thesis director) / Morgan, Eileen (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05