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Georg Philipp Telemann’ın yaşadığı ve Klasik Batı Müziği’nin altın çağı olan Geç Barok dönem; yeniliklerin ve birden fazla müzik formunun geliştiği, konçerto ve sonatın zirveye ulaştığı dönemdir. Bu dönemde tüm besteciler, özellikle Georg Philipp Telemann tarafından benimsenen obua, dönemin en popüler enstrümanlarından olmuştur ve obua için yüzlerce beste yapılmıştır. G. Ph. Telemann’ın, her ülkenin müzikal öğelerini eserlerinde kullanması müzikte devrim yaratan bir özelliğidir. Zengin armonik düşünceleri, etkili melodileri, karmaşık motifleri sayesinde çağının en saygıdeğer bestecisi olmuştur. Dönemin en üretken bestecisi olarak tanınan G. Ph. Telemann, her enstrüman için sayısız beste yapmıştır. En üretken ve en verimli dönemlerinde bestelediği obua konçertoları, fantezileri ve sonatları, obua repertuvarına çok büyük katkı sağlamıştır. Bu araştırmada, Georg Philipp Telemann’ın obua için bestelediği popüler konçertolar tanıtılmış ve onları icra edecek müzisyenler için içerikleri incelenmiştir. İcracıların dönemi ve enstrümanı daha derin kavrayabilmeleri, G. Ph. Telemann’ın müzikal kimliğini tanımaları için Barok dönemin, obuanın ve G. Ph. Telemann’ın müzikal özelliklerine değinilmiştir The golden age of Western Classical Music, the Late Baroque era, at which Georg Philipp Telemann lived, was the era when innovations and multiple musical forms developed, the concerto and sonata reached their peak. During this era, all composers, especially Georg Philipp Telemann, adopted the oboe and it became one of the most popular instruments of the era. Hundreds of compositions were composed for the oboe. G. Ph. Telemann's use of musical elements from each country in his works is a revolutionary feature in music. He became the most respected composer of his age thanks to his rich harmonic thoughts, effective melodies and complex motifs. Known as the most prolific composer of the era, G. Ph. Telemann composed numerous compositions for each instrument. The oboe concertos, fantasies and sonatas which he composed during his most productive periods contributed greatly to the oboe repertoire. In this research, popular concertos composed for oboe by Georg Philipp Telemann were introduced and their contents were examined for the musicians who performed them. The musical characteristics of the Baroque era, the oboe and G. Ph. Telemann were mentioned so that the performers could have a deeper understanding of the era, the instrument and to recognize G. Ph. Telemann's musical identity.

This article is a contribution to the debate which has been taking place for some years now around the use of artistic research methodologies in conservatories. To be precise, it supports a methodology centred on artistic activity, which is not conditioned by the dictates of science and the need to obtain results. Within this current of thought, we have developed a new methodology of artistic research, a/r/tography, which is adapted from Fine Arts, and is aimed at teachers in music conservatories and makes it possible to simultaneously research, perform and teach a piece of music.

À la mémoire de Serge Prokofieff står högst upp på första sidan av Oboesonaten, FP 185 av Francis Poulenc. Stycket komponerades år 1962 och är Poulencs sista komposition, som han aldrig har fått möjligheten att höra innan han dog samma år. Under åren har Poulenc tillägnat sina verk till många vänner och bekanta. Sitt sista verk tillägnar han sin vän som han beundrar väldigt mycket, dvs. Prokofjev. Detta är en vinkel som jag länge har velat fördjupa mig i. Under studieåren har många lärare dragit kopplingar mellan oboesonaten och vissa verk av Prokofjev, som t.ex. baletten Romeo och Julia. Så jag har valt undersöka ämnet och se om det finns tydliga influenser av Prokofjevs musik i oboesonaten samt också att klargöra om huruvida stycket är karaktäristiskt för Poulencs stil som kommer från en fransk musiktradition. För att utöka mina kunskaper och för att bilda en större kontext om båda kompositörerna, har jag börjat med att läsa biografier om dessa. Även en utförlig analys av oboesonaten har genomförts. Genom att lyssna på verk av båda tonsättarna samt genom att titta i partitur har jag kunnat ta ut vissa ställen som kunde jämföras för att hjälpa mig vidare i min undersökning. Dessa ställen har jag lagt sida vid sida för en mer detaljerad analys och jämförelse. Jag upptäckte att det fanns en del likheter mellan oboesonaten och Prokofjevs musik, däremot mycket fler likheter mellan oboesonaten och andra verk av Poulenc. Det finns många närvarande kompositionsdrag som berättar att stycket är mycket karaktäristiskt för Poulencs sätt att skriva musik. Dock kan man också se en del kompositionsegenskaper som föredras av Prokofjev. Min slutsats är att det finns influenser av Prokofjev, men också att oboesonaten är Poulencs egen tillbakablick till ett rikt och händelsefullt liv samt en medryckande karriär. Att kunna känna igen dessa referenser till Prokofjev och till Poulencs tidigare musik bidrar till att man som musiker kan skapa en mer utförlig interpretation av stycket. Att förmedla kompositörens tankar är en stor del av en musikers jobb. Därför anser jag att det är viktigt att tolkningen av ett stycke stämmer överens i så stor utsträckning som möjligt med tonsättarens idéer. F Poulenc: Oboesonat, FP 185Medverkande:Gabriela Dogaru - oboeKatarina Ström-Harg - piano

La música forma part de totes les nostres vides. Ens pot fer sentir tantes coses diferents i ser tan bonica i interessant que tothom hauria de provar fer-ne o jugar-hi. L'objectiu d'aquest projecte és crear una aplicació d'estil de looper/drum pad que permeti a l'usuari crear i tocar diferents músiques mitjançant sons predeterminats o propis. També donarà suport al protocol MIDI, cosa que permet a l'usuari controlar dispositius MIDI externs mitjançant USB. S'ha desenvolupat per a Android, ja que falten les solucions existents i poques. Per això, el projecte s'ha desenvolupat utilitzant Android Studio, Kotlin i Oboe utilitzant la forma més eficient possible. Music is part of all of our lives. It can make us feel so many different things and be so beautiful and interesting that everyone should try creating or just playing around with it. The objective of this project is to create a looper/drum pad style app that allows the user to create and perform different music using default sounds or their own. It will also support the MIDI protocol, allowing the user to control external MIDI gear through USB. It has been developed for Android since the existing solutions are lacking and not many. Because of this the project has been developed using Android Studio, Kotlin, and Oboe in the most efficient way possible.

Este trabajo presenta los primeros resultados obtenidos de un estudio realizado en el Archivo General del Palacio Real de Madrid que justifican el uso de la flauta dulce en el contexto musical de la Corte de Carlos III en la segunda mitad del siglo XVIII. Las lamentaciones de Nicolás Conforto, compuestas en 1766, aportan tres testimonios del uso simbólico de la flauta dulce en un contexto profesional en el que este instrumento convivía con el oboe y la flauta travesera, siendo interpretados los tres por los mismos músicos. Tras ofrecer una génesis de la recepción de la flauta dulce barroca en España y su presencia a lo largo del siglo XVIII, se ofrece una visión global del género de la lamentación, así como los cambios musicales introducidos por Carlos III durante su reinado. Finalmente, se comenta el uso de la flauta dulce en estas composiciones, así como su transcripción hasta ahora inédita, que suponen la constatación del uso tardío de la flauta dulce en la corte madrileña durante la segunda mitad del siglo XVIII., This research article reports the first results obtained from a work carried out in the General Archive of the Royal Palace of Madrid, results that justify the use of the recorder in the musical context of the court of Charles III in the second half of the eighteenth century. The lamentations of Nicolás Conforto, composed in 1766, provide three testimonies of the symbolic use of the recorder in a professional context in which this instrument coexisted with the oboe and the transverse flute, all three being performed by the same musicians. After offering a genesis of the reception of the baroque recorder in Spain and its presence throughout the eighteenth century, a global view of the genre of lamentation is offered, as well as the musical changes introduced by Charles III during his reign. Finally, it is commented on the use of the recorder in these compositions, as well as its transcription so far unreleased, which imply the realization of the late use of the recorder in the Madrid court during the second half of the eighteenth century.

Syftet med denna studie är att ta reda på vad oboelärare på musik- och kulturskolor har för erfarenheter kring sina elevers motivation att spela oboe. I bakgrundskapitlet presenteras en beskrivning av instrumentet oboe följt av en beskrivning av musik- och kulturskolans framväxt i Sverige under 1900-talet och en kort beskrivning av motivationsteorier genom historien. Tidigare forskning som presenteras berör studier kring elevers motivation att spela musikinstrument och elevens sociala relationers betydelse för motivationen. Motivationsteorier som används är Maslows behovstrappa samt yttre och inre motivation. Studien har en interpretativistik kunskapsteori och genom det fenomenologiska perspektivet används begreppen livsvärld och intersubjektivitet. Forskningsmetoden är semistrukturerade intervjuer med fyra oboelärare som arbetar på musik- eller kulturskolor i Sverige. Intervjuerna analyserades genom en tematisk analysmetod. Resultatet presenterar fyra olika områden som oboelärarna erfar påverkar deras elevers motivation; varför elever blir motiverade att spela oboe och varför elever tappar motivationen till att spela oboe, oboens specifika förutsättningar, material och moment som används i undervisningen och betydelsen av sociala relationer för elevens motivation. Avslutningsvis presenteras en diskussion mellan resultatet och tidigare nämnd forskning, teorier och litteratur. The purpose of this study is to find out what oboe teachers in the community school of music and art have for experiences around their students' motivation to play oboe. The background chapter presents a description of the instrument oboe followed by a description of the growth the community school of music and art in Sweden during the 20th century and a brief description of motivation theories throughout history. Previous research that is presented concerns studies on students' motivation to play musical instruments and the student's social relations' significance for motivation. Motivation theories used are Maslow's ladder of needs as well as external and internal motivation. The study has an interpretivist theory of knowledge and through the phenomenological perspective the concepts of life world and intersubjectivity are used. The research method is semi-structured interviews with four oboe teachers who work at the community school of music and art in Sweden. The interviews were analyzed using a thematic analysis method. The results present four different areas that the oboe teachers experience affect their students' motivation; why students are motivated to play oboe and why students lose motivation, the oboe's specific conditions, materials and elements used in teaching and the importance of social relations for the student's motivation. Finally, a discussion is presented between the results and the previously mentioned research, theories and literature.

The score of Luciano Berio’s Sequenza VII for solo oboe exhibits a strict and definite temporal space, yet most performers do not manage to perform the work within the prescribed time. The score is...

Nonvocal musical instruments like the oboe, cello, and violin, have been described as resembling the human voice. However, much of the evidence is based on historical reports and hearsay. In this study, 174 participants rated instruments according to how much they sounded like the human voice. Analysis revealed that no nonvocal instrument was rated as being voicelike, with moderate mean ratings for the clarinet, oboe, violin, and cello. The violin was rated as statistically more voicelike than the trumpet. Voicelikeness was statistically higher for the instrument which the individual played or an instrument which the individual valued. Monophonic instruments such as the clarinet were also rated as overall more voicelike than those which typically could sound several parts at the same time such as the piano. Referring to an instrument as voicelike may be better thought of as a defacto for the instrument’s (and player’s) expressive capabilities.

For many, the phrase “English pastoralism” evokes a very particular sound world. Hushed, muted strings undulate in lightly dissonant, modally inflected pan-diatonicism. An oboe or an English horn s...

Richard Strauss (1864–1949) var en av de mest tongivande kompositörerna och dirigenterna under sin mycket långa och framgångsrika karriär. Hans oboekonsert, skriven 1945–1946, var ett av de sista stycken han komponerade och har sedan blivit ett mycket viktigt verk i oboerepertoaren. Kompositionen är både vacker och utmanande och spelas ofta både på konserter och i sökningssammanhang. Syftet med detta examensarbete var att genom analys av första satsen och analys av en inspelning av ett tidigare eget framförande få en bättre förståelse för stycket för att kunna förbättra framtida framföranden av det. Resultatet blev en djupare insikt i verkets uppbyggnad, en förståelse för vad som kan utvecklas i ett framförande av konserten och hur detta kan åstadkommas. Medverkande:Victor Sjögren, OboeAsuka Nakamura, Piano

Syftet med studien var att finna lösningar i en begränsad repertoar för oboe, genom att belysa musik komponerad för violin av den ouppmärksammade kvinnliga tonsättaren Marion Bauer. Syftet var i förlängningen att inspirera andra musiker att utföra liknande studier. Detta genomfördes metodiskt genom konstnärliga val baserade på musikanalys och transkription till oboe av Bauers verk Up the Ocklawaha, Op. 6 som komponerades för den kvinnliga violinisten Maud Powell. Vidare egna inspelningar, musikhistoriska studier och intag av andra verk, såsom Clara Schumann-Wiecks tre romanser för violin och piano, Op. 22. I transkriptionen identifierades utmaningar i form av dubbelgrepp och flageoletter för violin. Studiens resultat påvisar lösningar genom konstnärliga val som prioriteringar av bärande meloditoner och oktaveringar. Resultatet indikerar att transkriptionen var fullt genomförbar genom noga övervägda konstnärliga val trots tekniska utmaningar. Studiens övergripande resultat belyser vikten av att framhäva kvinnliga kompositörer som annars i tillräcklig grad inte uppmärksammas.

Johann David Heinichen wurde 1683 in Krössuln im Herzogtum Sachsen-Weißenfels geboren. An der Thomasschule in Leipzig erhielt er eine fundierte Ausbildung; nach einem Jurastudium wandte er sich dann ausschließlich der Musik zu. Während einer mehrjährigen Italienreise wurden mehrere Opern Heinichens erfolgreich in Venedig aufgeführt. 1716 lernte er dort den sächsischen Thronfolger Friedrich August II. kennen, der ihn an den Hof seines Vaters August des Starken als Kapellmeister verpflichtete. In dieser Funktion prägte Heinichen das musikalische Leben Dresdens entscheidend mit. Heinichen starb 1729 im Alter von nur 46 Jahren in Dresden. Die vorliegende Komposition ist im "Répertoire International des Sources Musicales" noch in zwei weiteren Bibliotheken nachgewiesen, die dort jedoch jeweils anderen Komponisten (Matthäus Nicolaus Stulyck bzw. - fälschlich - Georg Friedrich Händel) zugewiesen ist. Für die vorliegende Ausgabe wurde die in Rheda genannte Zuschreibung an Heinichen beibehalten.

Throughout my musical career, I have always enjoyed Baroque music, especially in a church setting. I have had some opportunities to experience this first hand on the horn, but realized that the Baroque repertoire available to a horn player is incredibly limited. Furthermore, there became a realization that French horn music students do not interact enough with Baroque music. While undergraduate Music Education and Performance majors seek a complete education and experience in performing all genres of music, horn players are often left with a void of music and techniques from the Baroque Period. It is also not common for students to own period instruments, nor is it common for university studios to own these instruments. The baroque horn also follows Baroque tuning A=415, which is far lower than the modern traditional tuning, which is A=440. Therefore, I have created four Baroque transcriptions for Horn and Organ to add to the horn repertoire. Two transcriptions were taken from Oboe concertos and two from Oboe D’amore concertos. All of these works were originally accompanied with small string ensemble and continuo. I chose Oboe and Oboe D’amore because the melodies were accessible for the modern day horn player, where flute, violin, viola, and cello features brushed up against virtuosity. These melodies also embody four different types of baroque style and melodic mastery. The project includes a professional recording, the sheet music of the transcriptions, and a CD cover with liner notes. The CD was recorded at Chevy Chase Presbyterian Church on November 10, 12, 17, and 25, 2019. The horn used was a Lukas Horn #4 with an Osmun Chicago cup and Geyer rim. The organ is a Rieger Tracker Organ designed by Josef von Glatter-Gotz in 1973-4, performed on by Julie Vidrick Evans. My engineer and producer was Neil Brown, through the recording company Arts Laureate. The arrangements were created using the music writing software, Sibelius. The cover photo is credited to Kyung Jung at Yellowhale Photography.

Syftet med föreliggande studie är att studera hur flöjt- och oboelärare erfar fenomenet undervisningsmetodik. För att uppnå detta syfte utgår studien från följande forskningsfrågor: Hur ser oboelärare på undervisningsmetodik som redskap i sin instrumentalundervisning? Hur ser flöjtlärare på undervisningsmetodik som redskap i sin instrumentalundervisning? Vilka likheter- och/eller skillnader finns det inom undervisningsmetodiken som redskap för instrumentalundervisning på flöjt och oboe? Studien omfattar en kvalitativ intervjustudie på musik- eller kulturskolor i Sverige med tre flöjtlärare och tre oboelärare och tar avstamp i det teoretiska perspektivet fenomenologi. Forskningsmetoden för studien bottnar i semistrukturerade intervjuer som sedan transkriberats och analyserats med tematisk analys. Resultatet bärs upp av fyra teman. Dessa fyra teman är: Allmän musikdidaktik, (trä)blåsmetodik, flöjtmetodik samt oboemetodik. Det första temat präglas av övergripande lektionsstrukturer, övningar men även förhållningssätt till undervisningsmetodik. Den sammantagna slutsatsen gällande fenomenet allmän musikdidaktik är innebörden av relationsarbetet med eleven men även yttre förutsättningar som färgar undervisningsmetodiken. Det andra temat belyser träblåsmusikers gemensamma beröringspunkter om vad det innebär att spela ett blåsinstrument. Lärarna erfar fenomenet andning som en gemensam och fundamental utgångspunkt men även en gemensam uppsättning repertoar. Det tredje och fjärde temat belyser flöjtens och oboens olikheter och förutsättningar för spel. Några exempel på skillnader instrumenten emellan är oboens dubbelrör vilket är något som flöjtspelet inte har. Även om flöjt och oboe är båda blåsinstrument visar resultatet på två skilda syner på blåsteknik. Flöjtspel handlar om förmågan att släppa iväg mycket luft medan oboespel handlar om att hålla igen med luft och att stå emot det höga trycket som bildas. I det påföljande diskussionskapitlet sätts resultatet i förhållande till tidigare litteratur och forskning. The purpose of this study is to examine how flute and oboe teachers experience the phenomenon of methodology. To achieve this goal, the study is based on the following research questions: What are the oboe teachers view on methodology as tools in their instrumental education? What are the flute teachers view on methodology as a tool in their instrumental education? Which similarities and / or differences are there in the methodology as a tool for music instrument education on flute and oboe? The study is presented in a qualitative case study at music schools in Sweden with three flute teachers and three oboe teachers and is based on the theoretical perspective phenomenology. The research method for the study is based on semi structured interviews which have then been transcribed and analyzed with thematic analysis. The result is presented in four themes. These four themes are: General music didactics, (wood)wind methodology, flute methodology and oboe methodology. The first theme is characterized by general lesson structures, exercises but also the teachers approach to methodology. The overall conclusion regarding the phenomenon of general music didactics is the meaning of the relationship work with the student but also external conditions that color the methodology. The second theme highlights the common areas of woodwind musicians and what it means to play a wind instrument. The teachers experience the phenomenon of breathing as a common and fundamental starting point, but also a common set of repertoires. The third and fourth themes highlights the differences between the flute and the oboe and the conditions for play. Some examples of the differences between the instruments are the double reed of the oboe which is something that flute does not have. Although flute and oboe are both wind instruments the result shows two different visions on blowing techniques. Flute playing is about the ability to release a lot of air while oboe playing is about holding back with air and resisting the high pressure that is created. In the following discussion chapter, the result is set in relation to previous literature and research.

Adagio und Allegro op. 70 är ett stycke för valthorn och piano av Robert Schumann (1810– 1856). Den skrevs 1849 av Schumann, ett år som han ägnade mycket åt att skriva för soloinstrument med piano. Adagio und Allegro finns även utgivet för andra soloinstrument än valthorn, bland annat violoncell, violin, oboe och tuba. Syftet med studien är att utföra en interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano som jag vill ha det rent musikaliskt och inte för att jag spelar valthorn. Jag kan uppleva att vi ibland styrs lite för mycket av vilket instrument vi spelar, att det ibland står i vägen för vår musikaliska interpretation. Jag har valt tre instrument jag kommer studera, dessa är valthorn, oboe och cello. Jag har jämfört notutgåvor, med utgångspunkt från min hornutgåva och inspelningar från tre instrumentalister per instrument. Detta för att försöka få en bred bild av hur stycket tolkas på olika instrument. Jag upptäckte att det finns en hel del skillnader mellan notutgåvorna. De flesta av skillnaderna är för att anpassa verket efter det instrument som ska spela. Dock innehöll oboestämman betydligt fler och större nyansskillnader än horn- och cellostämman. Mellan instrumentalisterna jag lyssnade på var det också stor skillnad. Jag upplevde att cellisterna generellt spelade mest uttrycksfullt och expressivt, men också att det varierar från musiker till musiker. Min slutsats av detta är att vi lätt låter vårt instrument styra mer än vi tror över vår interpretation. Dock upplever jag att flera av de modernare instrumentalisterna är lite mer fria än de äldre. Att vi mer och mer söker den tolkning vi vill ha musikaliskt och inte styrs av hur man ”bör” spela. Jag anser att vi går åt rätt riktning. För fullständig info om examenskonserten, repertoar samt medverkande se bilaga med programmet. I ljudfilen finns endast Adagio und Allegro op. 70 av Robert Schumann med. Där spelar Alma Heinemann valthorn och Katarina Ström-Harg piano. Ljudfilen är från konserttillfället.

When I was young, I remember my parents used to play the Beatles song “Here Comes the Sun” in the morning on the old record player. My mother helped hire the first band director at my middle school, and my father played opera in the car on my way to elementary school. I dabbled with different instruments, and played trumpet (cornet actually), flute, piccolo, oboe, English horn, and Ukulele. I also sang in several choirs and still sing today. What did all this musical influence do to my developing brain? This article reviews some of the existing evidence about music and brain development, to make a case for exposing children to music at an early age and supporting school music programs. [ Pediatr Ann. 2018;47(8):e306–e308.]

We examined perception of artificial timbre blending using recordings of two actual instruments. In Experiment 1, participants heard stimuli comprising different proportions of sounds from an oboe and a trumpet, constructed using both a linear and a logarithmic algorithm, and judged the degree of blending. In Experiment 2, participants chose between an oboe and a trumpet in each blend condition. In both experiments, participants were able to track the degrees of blending between the two anchor points quite accurately. In Experiment 3, participants matched test blends to two target blends in an ABX design and showed no evidence for categorical perception of oboe and trumpet timbres in their judgments. Further, participants with and without musical training showed similar patterns of responding. The findings suggest a high level of sensitivity for timbre coding in auditory perception and also have implications for timbre manipulation as a compositional device and sound morphing techniques.

Bu tezde Venedikli besteciler Antonio Vivaldi'nin Op.8 No.12 Do Majör ve Tomaso Albinoni'nin Op.9 No.2 Re minör obua konçertolarının müzikal analizleri yapılmıştır. Venedik'in çalgısal müzik gelişimindeki tarihsel rolü incelenmiş ve Ortaçağ'dan Barok Dönem'e nasıl müzik merkezi haline geldiği anlatılmıştır. Barok obuanın shawmdan evrilmesi, Barok Dönem'de nasıl kullanıldığı, nasıl solo enstrüman niteliği kazandığı incelenmiştir. Venedikli iki bestecinin aynı ekolden gelmelerine karşın obua konçertolarında kullandıkları yapının birbirlerinden nasıl ayrıldığı partisyonlar üzerinden tespit edilerek, Vivaldi ve Albinoni farklılığı ortaya konulmuştur. Her iki bestecinin obua çalgısına yaklaşımları, homofoni ve kontrpuan tercihleri ele alınarak irdelenmiştir. Vivaldi'nin homofonik üslubu benimseyerek obuaya teknik olarak daha zorlayıcı, sürekli bas ile baş başa bırakan sololar yazdığı gözlemlenmiştir. Albinoni'nin ise kontrpuan yapısını benimseyerek yaylılar ile daha çok ilişki içinde olan obua soloları yazdığı ortaya konmuştur. In this thesis Venetian composers Antonio Vivaldi's Op.8 No.12 C Major and Tomaso Albinoni's Op.9 No.2 D minor oboe concertos' musical analyses has been made. Venice's historical role in development of instrumental music and from Middle Ages to Baroque Period how it became center of music be examined. Baroque oboe's transformation from shawm, utilization of Baroque oboe in Baroque Period and how it gained solo instrument identity has been researched. Even though two Venetian composers derived from same ecole how they seperated in terms of their oboe concertos' structure has been examined thus differentitation of Vivaldi and Albinoni is revealed. Both composers' approach to oboe is probed with handling their preference of homophony and counterpoint. It is revealed that with adopting homophonic style, Vivaldi composed more compeller solos for solo oboe and leaved it alone with basso continuo. On the other hand it is explained that with adopting counterpoint structure, Albinoni composed more related oboe solos with strings. 111

AKDAĞ, Eylül Can. “Playing the Oboe from the Diaphragm ”, Master’s Thesis, Ankara, 2018. This work analyses the use of diaphragm in oboe and evaluates how it functions in some greatest music pieces. The main aim of this essay is to provide a primary source written in Turkish. No Turkish source concerning this issue can be found in the field. The first part of the work is dedicated to the introduction, the aim and importance of this research, the method for data accumulation and to the nature of this research. The second chapter deals with the basics of oboe, its evolution process in a historical scale and the repertoire for solo oboe. In the following chapter, the anatomy of the diaphragm and the fundamental information about diaphragmatic breathing are discussed. In the fourth chapter, the proper way of diaphragmatic breathing is analysed with references to the selected solo and orchestral pieces; the method of using the diaphragm is studied; and exercises that strengthen the diaphragm are included. Since the lack of information in Turkey about playing the oboe from the diaphragm is believed to cause problems, the work aims to fulfil this need. As no Turkish source regarding this issue is present, this work intends to become a useful “primary source in Turkish” and is, therefore, written to be beneficial for oboe players. KABUL VE ONAY.......................................................................................i BİLDİRİM ...................................................................................................ii YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI ..........................iii ETİK BEYAN ............................................................................................iv TEŞEKKÜR ...............................................................................................v ÖZET.........................................................................................................vi ABSTRACT .............................................................................................vii İÇİNDEKİLER ......................................................................................... viii FOTOĞRAFLAR DİZİNİ ............................................................................x ÖNSÖZ .....................................................................................................xi 1. BÖLÜM ..................................................................................................1 GİRİŞ .........................................................................................................1 1.1. PROBLEM ......................................................................................... 2 1.2. ARAŞTIRMANIN AMACI .................................................................. 2 1.3. ARAŞTIRMANIN ÖNEMİ .................................................................. 2 1.4. YÖNTEM ............................................................................................ 2 1.5. EVREN VE ÖRNEKLEMİ .................................................................. 3 1.6. VERİLERİN TOPLANMASI VE ANALİZİ ......................................... 3 2. BÖLÜM ..................................................................................................4 OBUA.........................................................................................................4 2.1. OBUA’NIN TANIMI ............................................................................ 4 2.2. OBUA AİLESİ .................................................................................... 7 2.2.1. Piccolo Obua ....................................................................... 8 2.2.2.Obua d'amor......................................................................... 8 2.2.3. Korangle .............................................................................. 8 2.2.4. Bas Obua ve Heckelphone ................................................. 8 2.3. OBUA’NIN TARİHSEL SÜRECİ ....................................................... 9 3.BÖLÜM .................................................................................................19 DİYAFRAM ..............................................................................................19 3.1. DİYAFRAMIN TANIMI VE YAPISI .................................................. 19 3.2. DİYAFRAM NEFESİ ........................................................................ 21 4. BÖLÜM ................................................................................................24 OBUA VE DİYAFRAM .............................................................................24 4.1. DİYAFRAM EGZERSİZLERİ........................................................... 24 4.1.1. Obua Üzerinde Diyafram Egzersizleri .............................. 24 4.1.2. Nefes Egzersizleri ............................................................. 25 4.2. SEÇİLİ MÜZİKAL TERİMLERDE DİYAFRAM KULLANIMI .......... 29 4.2.1. Nüanslar ............................................................................ 29 4.2.2. Vibrato ............................................................................... 30 4.2.3. Entonasyon ....................................................................... 32 4.3. SEÇİLİ ESERLERDE DİYAFRAM KULLANIMI ............................. 34 4.3.1. Brahms Keman Konçertosu 2. Bölüm .............................. 34 4.3.2. Rossini İpek Merdiven Üvertürü ....................................... 36 4.3.3. Strauss Obua Konçertosu 1. Bölüm ................................. 38 4.3.4. Mozart Obua Konçertosu 1. Bölüm .................................. 40 4.3.5. Henri Duttileux Obua Sonatı 2. Bölüm ............................. 42 5. SONUÇ VE ÖNERİLER .......................................................................44 KAYNAKÇA .............................................................................................45 EKLER .....................................................................................................47 EK 1......................................................................................................... 47 EK 2......................................................................................................... 51 ÖZGEÇMİŞ ..............................................................................................55 AKDAĞ, Eylül Can. “Obua Çalmada Diyafram Kullanımı ve Önemi ”, Yüksek Lisans Tezi, Ankara, 2018. Bu çalışma, obuada diyafram kullanımını inceleyen ve önemli eserlerde nasıl kullanıldığına ilişkin değerlendirmeler içeren bir çalışmadır. Çalışmanın amacı Türkçe temel kaynak oluşturabilmektir. Konuya ilişkin Türkçe kaynak bulunmamaktadır. Birinci bölüm çalışmanın giriş kısmına, araştırmanın amacı ve önemine, veri toplama yöntemine, araştırmanın evrenine ve örneklemine ayrılmıştır. İkinci bölümde obuanın sistemine, tarihsel gelişimine ve solo repertuarına değinilmiş, üçüncü bölümde ise diyaframın anatomik yapısı ve diyafram nefesine dair temel bilgiler verilmiştir. Dördüncü bölümde seçili solo ve orkestra eserleri üzerinde diyafram ile doğru nefes alma analizi yapılmış, belirli tekniklerde diyafram kullanımı incelenmiş ve diyafram geliştirme egzersizlerine yer verilmiştir. Sonuç olarak; Türkiye’de obua çalımında diyaframla ilgili bilgi eksikliğinin icracıların çalımında büyük sorunlar oluşturduğu düşünülerek bu çalışma hazırlanmıştır. Konuyla ilgili Türkçe kaynak bulunmamasından dolayı bu çalışma, konu hakkında yararlı bir “Türkçe temel kaynak” olarak icracılara faydalı olabilmesi ilkesi esas alınarak hazırlanmıştır.

Geç Romantik dönemin en önemli bestecilerinden biri olan Richard Strauss'un ikinci dünya savaşının hayatındaki etkilerini anlattığı Re Majör Obua Konçertosu, teknik ve müzikalitenin ön plana çıktığı, ulusal ve uluslararası orkestra sınavları ve yarışmaların repertuvarlarında sıklıkla yer alan önemli bir eserdir. Ayrıca senfonik şiirleri, operaları ve şarkılarıyla bilinen bestecinin Ein Heldenleben, Der Rosenkavalier ve Aus Italien adlı eserleri de klasik müzik repertuvarının en önemli eserleri arasında yer almaktadır. Bu eserlerin obua sololarındaki uzun soluklu cümleler ve özellikle konçertodaki hızlı, teknik pasajların icra edilmesi, yorumcular için önemli bir zorluk teşkil etmektedir. Sürekli nefes tekniği kullanımı ve eserlerin icrasından önce gerekli egzersiz ve etüt çalışmalarının yapılması bu zorlukların üstesinden gelinmesine yardımcı olmaktadır. Konçertonun uzun cümleleri göz önüne alındığında, yorumcunun fiziksel özelliklerine uygun ve ölçülendirilmesi doğru yapılmış bir kamış ile çalınması yorum kalitesini olumlu etkilemektedir. Bu çalışmada, konçertonun müzikal, biçimsel ve armonik olarak anlaşılması için ilgili analizlere yer verilmiştir. Bunun yanında teknik açıdan zorluklar incelenmiş, çalışma etütleri ile çözümler önerilmiş ve kamış yapımı ile ilgili tavsiyelerde bulunulmuştur. Ayrıca bahsedilen orkestra eserlerindeki obua sololarının, konçerto ile karşılaştırmalı bir incelemesine yer verilmiş, obua sanatçılarına incelenen eserleri doğru ve etkili biçimde yorumlamaları açısından yardımcı olunması amaçlanmıştır. Richard Strauss is one of the most important composers of the late romantic period. His D Major Oboe Concerto, which is about the influences of Second World War on his life, is one of the prominent works of the oboe repertoire. In this work, which is frequently asked in orchestral auditions and international competitions, technique and musicality is at the forefront. The composer is also well known for his symphonic poems, operas and songs (lied). His works Ein Heldenleben, Der Rosenkavalier and Aus Italien are among the most important works of the classical music repertoire. The long phrases in the oboe solos of these works, and fast, technical passages in the concerto constitute important challenges for oboe performers. The use of circular breathing technique and practicing certain exercises and etudes prior to performance can help to ensure overcoming these challenges. Considering long phrases of the concerto, playing with a well measured reed, that is suitable to physical characteristics of the performer, can influence the quality of interpretation. In this study, to allow for understanding of musical, formal and harmonic structure of the concerto, related analyses are included. Additionally, technical difficulties in these works are examined, solutions to these difficulties are advised, and suggestions on reed making are presented. Also, a comparative study of the oboe solos in the mentioned orchestral works with the concerto is included. As a result, it is aimed to help oboe players to interpret the examined works correctly and efficiently. 109

The Chamber Music Society of Logan presents the Zéphyros Winds. This is their 37th season performing., https://digitalcommons.usu.edu/music_programs/1140/thumbnail.jpg

hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting of a poem (or 37 poems) by John Ashbery, sung by Thomas Buckner with an accompanying ensemble of oboe, horn, viola and cello. Like the poems, Wolff's settings are self-contained but accumulative, and, as the composer says in the programme notes, the ‘may form’ a whole. Variety is achieved through shifts within the accompanying instrumentation (some settings having none), line and fragmentation, instrumental technique, suggestions of common-practice harmony, flashes of word painting and spoken accompaniment from the instrumentalists (one haiku is spoken by the violinist, another is spoken in fragments across the ensemble). Coherence across these fragments is created simply through the presence of Wolff's mature and distinctive post-Webern sound world.

This analysis explores how Barry Truax’sSong of Songs(1992) for oboe d’amore, English horn and two digital soundtracks reorients prevailing norms of sexuality by playing with musical associations and aural conventions of how gender sounds. The work sets the erotic dialogue between King Solomon and Shulamite from the biblical Song of Solomon text. On the soundtracks we hear a Christian monk’s song, environmental sounds (birds, cicadas and bells), and two speakers who recite the biblical text in its entirety preserving the gendered pronouns of the original. By attending to established gender norms, Truax confirms the identity of each speaker, such that the speakers seemingly address one another as a duet, but the woman also addresses a female lover and the man a male. These gender categories are then progressively blurred with granular time-stretching and harmonisation (which transform the timbre of the voices), techniques that, together, resituate the presumed heteronormative text within a diverse constellation of possible sexual orientations.

Karin Rehnqvist (f. 1957) är idag en av Sveriges främsta kompositörer och hon är välkänd även internationellt. År 2000 skrev Rehnqvist stycket Till Ängeln med de brinnande händerna till den amerikanska oboisten Cynthia Green Libby. I detta examensarbete analyseras innehållet i stycket med instudering och kringarbete. Syftet med studien var att få en inblick i nutida musik och få en djupare förståelse av stycket. Dessutom att utvecklas som solist framför en ensemble. Resultatet var först och främst en fantastisk konsert men också ett sätt att analysera verk för djupare förståelse som jag kommer kunna använda i mitt framtida musicerande. Här finns en djupdykning i Karin Rehnqvist stycke Till Ängeln med de brinnande händerna som förhoppningsvis får såväl musiker som publik att upptäcka stycket. Det kan vara till stöd som källa för bakgrundsbeskrivning av verket, musikanalys samt även spelteknisk hjälp.

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This article presents a view of the first meetings between the oboe virtuoso Christopher Redgate and the composers Dorothy Ker and Fabrice Fitch. The article details some aspects of these meetings to highlight the processes that are at play in the earliest stages of collaboration. These processes are both practical (in which information about how the oboe works is uncovered and shared) and philosophical (in which the oboe itself becomes a significant source of new possibilities). The article traces a period during which Redgate was developing a new oboe, working with composers to create new repertoire for the new instrument. Arguing for closer attention to the ‘everyday’ aspects of composers and performers working together, the article explores some of the ways in which Redgate pulls apart his experience of performing to develop new technique and to opening up new possibilities for future composition. I also argue that the oboe, as much as the composer and performer, plays a part in shaping musical outcomes.

By analyzing enunciation in performance, this article shows the similarities among funeral laments, epic songs, exile songs and the playing of the duduk (oboe). Regarded as “words on” (kilame ser), these four types of enunciation share melodic, metric, gestural and emotional elements. According to local typologies, the “words on” are opposed to songs (stran), a term referring mostly to wedding music and the zurna (oboe). The opposition between word and song is also related to a series of antinomic couples, such as exile vs. household, sadness vs. joy, or duduk vs. zurna. An analysis of these music and enunciation typologies of emotion allows an approach to Yezidi ritual and calendar time.

To test the effects of octave and timbre on tuning accuracy, four stimuli—B-flat 4 sounded by flute, oboe, and clarinet and B-flat 2 sounded by tuba—functioned as reference pitches for high school wind players ( N = 72). The two stimulus octaves combined with participants’ assigned tuning notes created soprano, tenor, and bass tuning groups. All participants tuned to each instrument. Results indicated no effect due to tuning group. There was a significant difference due to stimulus. Participants’ responses were more out of tune to the tuba stimulus than to the oboe, clarinet, and flute stimuli, which were not different from each other. There was no difference in the distribution of in-tune, sharp, and flat responses across tuning stimuli, a result that differs from the “preference for sharpness” effect in previous research. Verbal and performance responses to the tuba, oboe, and flute stimuli revealed misconceptions between participants’ perceptions of tuning difficulty and actual performance difficulty and favored the use of oboe and flute as tuning references. Most of the participants (82%) reported tuning to the tuba as the prevalent approach to mass tuning in their school bands.

Although the common way to perform late eighteenth-century flute or oboe concertos today is for the soloist to rest during tutti passages, this is probably not what most composers had in mind. Recent research has shown that keyboard and violin soloists played an important role as orchestral members during the ritornellos of their concertos, the former providing a continuo part and the latter doubling the orchestral first violins. But what about concertos for flute or oboe? Were these soloists also to play during the tuttis, and if so, what? Primary source evidence (supported by statements in contemporary treatises) reveals that many eighteenth-century composers expected woodwind soloists to participate during all or some orchestral ritornellos. Printed and manuscript parts of the period reveal several types of soloist participation, suggesting that the practice was widespread yet also flexible. Reinstatement of the soloist in the tuttis, performing all of the music that eighteenth-century composers asked them to perform, would alter the way these concertos sound, in turn forcing a change in how they are perceived.

Gradated spectral interpolations between musical instrument tone pairs were used to investigate discrimination as a function of time-averaged spectral difference. All possible nonidentical pairs taken from a collection of eight musical instrument sounds consisting of bassoon, clarinet, flute, horn, oboe, saxophone, trumpet, and violin were tested. For each pair, several tones were generated with different balances between the primary and secondary instruments, where the balance was fixed across the duration of each tone. Among primary instruments it was found that changes to horn and bassoon [corrected] were most easily discriminable, while changes to saxophone and trumpet timbres were least discriminable. Among secondary instruments, the clarinet had the strongest effect on discrimination, whereas the bassoon had the least effect. For primary instruments, strong negative correlations were found between discrimination and their spectral incoherences, suggesting that the presence of dynamic spectral variations tends to increase the difficulty of detecting time-varying alterations such as spectral interpolation.

Historically, there have been differences in the musical instruments played by boys and girls, with girls preferring smaller, higher-pitched instruments. This article explores whether these gender preferences have continued at a time when there is greater gender equality in most aspects of life in the UK. Data were collected from the 150 Music Services in England as part of a larger survey. Some provided data regarding the sex of pupils playing each instrument directly. In other cases, the pupils' names and instruments were matched with data in the national Common Basic Data Set to establish gender. The findings showed distinctive patterns for different instruments. Girls predominated in harp, flute, voice, fife/piccolo, clarinet, oboe and violin, and boys in electric guitar, bass guitar, tuba, kit drums, tabla and trombone. The least gendered instruments were African drums, cornet, French horn, saxophone and tenor horn. The gendered pattern of learning was relatively consistent across education phases, with a few exceptions. A model was developed that sets out the various influences that may explain the continuation of historical trends in instrument choice given the increased gender equality in UK society.

This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.

Geç romantik dönem bestecilerinden Richard Strauss Der Rosenkavalier(Güllü Şövalye), Elektra, Salome gibi operaları, Don Juan, Tod und Verklärung(Ölüm ve Aydınlanma), Ein Heldenleben (Bir Kahramanın Yaşamı) gibi senfonikşiirleri, liedleri, orkestral eserleri ve konçertolarıyla henüz hayattayken büyük birpopülerliğe erişmiş olup bugün de hâlâ en çok seslendirilen besteciler arasında yeralmaktadır.Bestecinin az sayıdaki konçertolarından biri olan ve obua repertuarınınstandart eserlerinden biri haline gelmiş Obua ve Küçük Orkestra İçin Konçertobaşlıklı eserine odaklanılan bu çalışmada ilk olarak Richard Strauss'un hayatımüzikal gelişmeler ışığında aktarılmış, bunun yanında bestecinin başlıca eserlerinedeğinilmiştir. İkinci bölümde obuanın teknik özellikleri ile enstrümanın geçirdiğitarihsel gelişim süreci sergilenmiştir. Çalışmanın en kapsamlı bölümü olan ve eserinanaliz edildiği bir sonraki bölümde Strauss Obua Konçertosu formal ve teknik açıdanincelenmiş, yapılan eser analizi nota örnekleriyle desteklenmiştir.Eserin icra boyutu üzerinde durulan son iki bölümde öncelikle, konçertoyuicra etmek isteyen müzisyenlere destek sağlayacakları düşünülen obua etütlerialıntılanmış, bu sayede konçertonun sahnede sorunsuz bir şekilde icrasına hazırlayıcınitelikte paralel bir çalışma programı oluşturulmaya çalışılmıştır. Konçertonunyorumu meselesinin tartışıldığı son bölümde ise birbirlerinden farklı ekol vekuşaklardan gelen üç yorumcunun Strauss Obua Konçertosu kayıtları incelenmiş,incelenen üç kayıt, yorum özellikleri açısından karşılaştırılmıştır.Anahtar Kelimeler: Richard Strauss, Obua, Obua Konçertosu, Egzersiz,Yorum. Richard Strauss, one of the post romantic composers, has reached a great popularityduring his life time with his operas such as Der Rosenkavalier, Electra, Salome, hissymphonic poems Don Juan, Death and Transfiguration, A Hero's Life, his lieds,orchestral pieces and contertos and he is still today among the most performedcomposers.This study, focuses on the Concerto for Oboe and Small Orchestra which is one ofthe few concertos of the composer wrote and became a standard work of the oboerepertoire. First, Richard Strauss's life is narrated in the light of musical and majorworks of the composer are mentioned.In the second chapter, technical specifications of oboe and historical developmentprocess of instrument is exhibited. In the last chapter, the most comprehensive part ofthe study and analysis of work was done, Strauss Oboe Concerto was examined interms of formal and technically, work analysis is supported by musical examples.In the last two chapters it is dwelled on the performance of the work, firstly oboestudies were cited because it is thought that these studies may provide technicalsupport for musicians who want to perform the concerto, thus a paralel studyprogramme was tried to be constituted which may allow smooth performance ofconcerto on stage. In the last chapter interpretation of concerto was discussed andStrauss Oboe Concerto records of three interpreters' who come different ecole andgeneration from each other was evaluated and three evaluated records werecompared in terms of interpretation features.Key words: Richard Strauss, The Oboe, Oboe Concerto, Exercise, Comments. 80