Matching Items (22)
Filtering by
- All Subjects: Oboe
- All Subjects: Clarinet and piano music
- Creators: Schuring, Martin
- Status: Published
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
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.
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
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 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
Description
This is a two-part thesis, completed in conjunction with my Materials Science and Engineering Capstone Project. The first part involves the design and testing of cold-extruded high-density polyethylene for student oboe reeds. The goal of this section was to create a longer-lasting reed that produces a similar sound to a cane reed, has less variation in quality, and costs less per year than cane reeds. For low-income students in particular, the cost of purchasing cane oboe reeds ($500-$2,000 per year) is simply not feasible. This project was designed to allow oboe to be a more affordable option for all students. Money should not be a factor that limits whether or a not a child is able to explore their interests. The process used to create the synthetic reed prototype involves cold-extrusion of high-density polyethylene in order to induce orientation in the polymer to replicate the uniaxial orientation of fibrous cane. After successful cold-extrusion of a high-density polyethylene (HDPE) cylinder, the sample was made into a reed by following standard reedmaking procedures. Then, the HDPE reed and a cane reed were quantitatively tested for various qualities, including flexural modulus, hardness, and free vibration frequency. The results from the design project are promising and show a successful proof of concept. The first prototype of an oriented HDPE reed demonstrates characteristics of a cane reed. The areas that need the most improvement are the flexural modulus and the stability of the higher overtones, but these areas can be improved with further development of the cold-extrusion process. The second part of this thesis is a survey and analysis focusing on the qualitative comparison of synthetic and cane oboe reeds. The study can be used in the future to refine the design of synthetic reeds, more specifically the cold-extruded high-density polyethylene student oboe reed I designed, to best replicate a cane reed. Rather than approaching this study from a purely engineering mindset, I brought in my own experience as an oboist. Therefore, the opinions of oboists who have a wide range of experience are considered in the survey. A panel of five oboists participated in the survey. They provided their opinion on various aspects of the five reeds, including vibrancy, response, stability, resistance, tone, and overall quality. Each of these metrics are rated on a scale from one to five, from unacceptable to performance quality. According to the survey, a participant's personal, hand-made cane reed is overall the most preferred option. My prototype HDPE student reed must be improved in many areas in order to rank near the other four reeds. However, its vibrancy and resistance already rival that of a Jones student reed. As this is just the first prototype, that is a significant accomplishment. With further refinement of the cold-extrusion and reedmaking method, the other areas of the HDPE reed may be improved, and the reed may eventually compete with the existing synthetic and cane reeds on the market.
ContributorsMitchell, Alexis Jacqueline (Author) / Adams, James (Thesis director) / Schuring, Martin (Committee member) / School of Music (Contributor) / Materials Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
This document is an expansion of the information presented at a lecture-recital on March 24, 2017, at Arizona State University. The program consisted of ten arias selected from the cantatas and oratorios of Johann Sebastian Bach (1685-1750), all for soprano with oboe, oboe d'amore, or oboe da caccia obbligato.
The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. In all, there are 173 arias with oboe obbligatos from the sacred and secular cantatas, oratorios, and the passions. Of these, 56 are arias for soprano. The ten selected for this document are intended to illustrate the rich variety of this repertoire and especially the ways in which Bach interprets and conveys the meaning of their texts.
Most of Bach's arias that feature the oboe, or the short-lived oboe d'amore or the oboe da caccia, come from his early years in Leipzig (1723-1726). The document examines the circumstances there that led to so much music for these instruments, discussing Bach's connection with instrument-makers and musicians, notably the oboist Johann Caspar Gleditsch (1684-1747).
The body of the document describes individually the ten arias performed on the May of 2017 recital, which come from BWV 1, 21, 74, 94, 98, 144, 187, 199, 202, and 248. Texts and translations are provided, and background information is given for each. The da capo structures and any distinctive features are discussed. Each description focuses on the meaning of the text, the musical character that conveys the overall affect, and specific devices of mood- and word-painting. In all cases, the close affinity of the voice and the oboe is a central concern.
The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. In all, there are 173 arias with oboe obbligatos from the sacred and secular cantatas, oratorios, and the passions. Of these, 56 are arias for soprano. The ten selected for this document are intended to illustrate the rich variety of this repertoire and especially the ways in which Bach interprets and conveys the meaning of their texts.
Most of Bach's arias that feature the oboe, or the short-lived oboe d'amore or the oboe da caccia, come from his early years in Leipzig (1723-1726). The document examines the circumstances there that led to so much music for these instruments, discussing Bach's connection with instrument-makers and musicians, notably the oboist Johann Caspar Gleditsch (1684-1747).
The body of the document describes individually the ten arias performed on the May of 2017 recital, which come from BWV 1, 21, 74, 94, 98, 144, 187, 199, 202, and 248. Texts and translations are provided, and background information is given for each. The da capo structures and any distinctive features are discussed. Each description focuses on the meaning of the text, the musical character that conveys the overall affect, and specific devices of mood- and word-painting. In all cases, the close affinity of the voice and the oboe is a central concern.
ContributorsMessing, Rachel Michelle (Author) / Schuring, Martin (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Arizona State University (Publisher)
Created2017
Description
The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected in June 2009. Her work, titled Forecast, was completed in October of 2009 and premiered in February of 2010, as part of a program showcasing music for oboe and percussion. Included in this document is a detailed biography of the composer, a description of the four movements of Forecast, performance notes for each movement, a diagram for stage set-up, the full score, the program from the premiere performance with biographies of all the performers involved, and both a live recording and MIDI sound file. The performance notes discuss issues that arose during preparation for the premiere and should help avoid potential pitfalls. TrevCo Music, publisher of the work, graciously allowed inclusion of the full score. This score is solely for use in this document; please visit the publisher's website for purchasing information. The commission and documentation of this composition are intended to add to the repertoire for oboe in an unusual instrument pairing and to encourage further exploration of such combinations.
ContributorsCreamer, Caryn (Author) / Schuring, Martin (Thesis advisor) / Hill, Gary (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2011