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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.

In het onderzoeksproject An Equal Music bestudeerdet hoboïst en docent Luk Nielandt de verbinding tussen oude instrumenten (pommers of schalmeien als voorlopers van de hobofamilie) en nieuwe instrumenten (de moderne hobo). De focus laigt op de professionele rietblazers die de oude instrumenten naar hun hand zetten. Tijdens het onderzoek leerde onder andere Fritz Heller, een gerenommeerd pommerbouwer, aan muzikanten om zelf een pommer te bouwen. Jan De Maeyer en Boudewijn Buckinx componeerden nieuwe muziek voor de oudere instrumenten, waarmeeen intens betrokken musici gaven concerten gavenmet de instrumenten. Het onderzoeksproject liep af in 2017, maar nog steeds exploreert Nielandt tal van nieuwe, onbekende wegen. Eugeen Schreurs, promotor van het onderzoeksproject, gaat in gesprek met Nielandt en trombonist Jan Smets.

There have been many works, composed by Turkish contemporary composers for oboe and string orchestra, so far. Hasan Niyazi Tura, known as a versatile Musician with his specialties like composer-conductor-violinist, composed his own 'Oboe Concerto' in 2006. His concerto consists of three movements. The first movement has a classic Sonata- Allegro form. The second movement is in three-part song form (A-B-A) and the third movement has a Rondo-Sonata form. This beautiful concerto, which is blended in Turkish maqam serial sounds and written in classical form, is included in Turkish contemporary compositions. It is thought that, studying Tura’s oboe concerto from the aspect of form, will enlighten the interpreters who will play it.

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.

Background/objective Playing a wind instrument implies rhythmic jaw movements where the embouchure applies forces with different directions and intensities towards the orofacial structures. These features are relevant when comparing the differences between a clarinettist and a saxophone player embouchure, independently to the fact that both belong to the single-reed instrument group, making therefore necessary to update the actual classification. Methods Lateral cephalograms were taken to single-reed, double-reed and brass instrumentalists with the purpose of analyzing the relationship of the mouthpiece and the orofacial structures. Results The comparison of the different wind instruments showed substantial differences. Therefore the authors purpose a new classification of wind instruments: Class 1 single-reed mouthpiece, division 1– clarinet, division 2 –saxophone; Class 2 double-reed instruments, division 1– oboe, division 2– bassoon; Class 3 cup-shaped mouthpiece, division 1– trumpet and French horn, division 2- trombone and tuba; Class 4 aperture mouthpieces, division 1– flute, division 2 – transversal flute and piccolo. Conclusions Elements such as dental arches, teeth and lips, assume vital importance at a new nomenclature and classification of woodwind instruments that were in the past mainly classified by the type of mouthpiece and not taking into consideration its relationship with their neighboring structures.

The objective is to reflect on the metapoesia in the work of Hilda Hilst, from the analysis of Ode Discontinuous and Remote for Flute and Oboe. From Ariana to Dionysus . We understand that the passage of time is a central problem in the work of the poet. In Ode discontinuous ..., the lyrical subject gives indications of exercising poetry as a confrontation of time, triggering a set of images that has as its center the poetic texture itself and that seem to minimize, through the imaginary, the relentless temporality present in other cuts of its production. The interdisciplinary theoretical axis includes, among others, Durand, Dufrenne and Pelbart. --- DOI: http://dx.doi.org/10.25094/rtp.2019n27a599

"Learning to "sing through the instrument" is the center of many wind players' approach to gain a more vocally expressive quality to their playing. A commonly used technique is voicing. Voicing can be defined as the way in which a wind player manipulates and uses their vocal tract to affect sound and also ease of tone production. Because voicing takes place inside the body, and the instrument itself eliminates the possibility for externally observing oral cavity activity, assessing one's voicing technique can be difficult. There have been multiple studies observing the vocal tract activity of both brass and woodwind players through the use of a laryngoscope capturing the imagery inside this portion of the musician's body as they play. However, there is a lapse in the use of this information in oboe pedagogy, specifically in regard to voicing. By conducting surveys and interviews with oboists as well as a vocal professional, the intention of this document was to learn more about current research on voicing and use this information to create new approaches to both teaching and playing the oboe. Gathering this information resulted in gaining new insight into what playing with a singing style really means for oboists, and also inspired the creation of new exercises to help oboists of all levels utilize voicing and other vocally based approaches to their playing."--Abstract from author supplied metadata.

Este trabalho debruça-se sobre a escola de oboé de Leon Goossens (1897- 1988), conforme defendida por este oboísta e pedagogo inglês no seu livro Oboe (Goossens & Roxburgh, 1977). Nesse sentido, foram tomados em consideração dois concertos de compositores contemporâneos de Goossens, e a ele dedicados, numa perspectiva de confrontar as ideias técnicoexpressivas da sua escola de oboé e a sua aplicação prática em contexto de performance. Numa primeira fase, é apresentada uma análise aos princípios da escola de oboé de Goossens, num estudo teórico baseado no livro supracitado, e numa análise ao registo discográfico da primeira gravação absoluta do concerto de Richard Strauss para oboé e orquestra (1947), interpretado pelo próprio Goossens. Seguidamente, é formulada uma aproximação à escola de oboé de Goossens, através da análise da execução de um conjunto de exercícios técnicos elaborados com o objetivo de colocar em prática o conhecimento teórico analisado. É ainda apresentado um guia interpretativo para cada um dos concertos, onde são abordadas e justificadas as diversas decisões musicais tomadas ao longo das obras, com base na análise crítica da escola de oboé de Leon Goossens. This work focuses on the Goossens ‘school of oboe’, as advocated by the English oboist and pedagogue Leon Goossens in his book “Oboe” (Goossens & Roxburgh,1977). Two concertos, by English composers contemporary with Goossens, and both dedicated to him, were taken into account, with the intent of challenging the technical and expressive ideas of this oboe school with their practical application in the context of performance. In the first section an analysis of the principles of the Goossens school is presented in a theoretical study based on the aforementioned book and in an analysis of the discographic record of the first recording of the Richard Strauss concerto for oboe and orchestra (1947), performed by Goossens himself. Next, an approach to the Goossens’ oboe school is formulated, through the analysis of the performance of a set of technical exercises elaborated with the objective of putting into practice the theoretical analysis. An interpretative guide for each concerto is also presented, where different musical decisions made throughout both works are approached and justified, based on a critical analysis of the Goossens’ oboe school. Programa Doutoral em Música

With the continuous deepening of education reform, more demands are placed on the current teaching. Oboe teaching needs to adapt to the pace of education reform and make certain changes to teaching ideas and methods. While doing basic teaching well, it is necessary to improve the comprehensive quality of students, so that students can meet the needs of social development. Therefore, in teaching, teachers need to innovate existing teaching methods, focus on cultivating students’ comprehensive qualities, improve the overall quality of teaching, and ensure that students can achieve comprehensive development.

Durante enero del 2021, el autor realizó una producción audiovisual del repertorio clásico para el oboe y una pieza de música tradicional colombiana. Este programa demuestra un alto nivel de habilidad técnica y artística. La selección musical presenta el desarrollo del oboe desde el periodo clásico hasta la actualidad. Cada composición involucra la colaboración entre el oboe y diferentes instrumentos; la primera mitad del recital consiste en música para ensamble de cámara con grandes contrastes dinámicos. La segunda mitad expone piezas más íntimas a través de matices en las frases, sensibilidad del vibrato, control de afinación y una comunicación precisa entre los músicos. During January 2021, the author recorded a graduate recital of standard oboe repertoire and a piece of Colombian traditional music. This program demonstrates a high level of technical and artistic ability. The musical selections showcased the development of the oboe from the classic era to contemporary day. While each composition involved collaboration between the oboe and different instruments; the first half of the recital consists of chamber ensemble music with dynamic contrasts. The second half of the recital involves more intimate works showcasing nuance in phrase, vibrato sensitivity, control of tone and delicate communication between the musicians on stage. Magíster en Música Maestría

O presente relatório remete para o trabalho elaborado no âmbito da disciplina de Prática de Ensino Supervisionada do 2º ano do Mestrado em Ensino de Música da Universidade de Aveiro. Este projeto está dividido em duas secções, sendo que a primeira remete para o projeto de investigação que tem como objetivo principal a criação e desenvolvimento de um objeto inovador pensado para auxiliar a iniciação no oboé. O projeto visa prevenir e consciencializar sobre as lesões que provêm de uma prática musical despreocupada, e por isso frisa a importância da utilização de um instrumento adaptado às necessidades do instrumentista. O Transformador surge então como uma ferramenta revolucionária. Deste modo, as peças são encaixadas na mecânica do oboé e alteram a distância entre cada chave, colocando a mão de uma criança numa posição mais confortável. Depois de uma sucessão de diferentes versões, nas quais se testaram dimensões, formatos e materiais, chegou-se à versão final utilizada na abordagem aos alunos selecionados para o estudo. Este estudo foi realizado em alunos de oboé com idades compreendidas entre os 6 e os 12 anos. No sentido de obter dados que comprovem a mais-valia da utilização do dispositivo, foi aplicado um inquérito por questionário aos alunos que fizeram parte do estudo inicial. Através deste inquérito, foi possível aferir a eficácia do Transformador. A segunda parte deste relatório recai na observação e reflexão sobre o contexto onde decorreu a Prática de Ensino Supervisionada. This report refers to the work carried out within the scope of the Supervised Teaching Practice discipline of the 2nd year of the Master Course in Music Teaching at the University of Aveiro. This project is divided into two sections, the first referring to the research project whose main objective is the creation and development of an innovative object designed to assist initiation in the oboe. The project aims to prevent and raise awareness about the injuries that come from a carefree musical practice, and for that reason stresses the importance of using an instrument adapted to the needs of the instrumentalist. The Transformer appears as a revolutionary tool. In this way, the pieces are fitted into the mechanics of the oboe and change the distance between each key, placing a child's hand in a more comfortable position. After a succession of different versions, in which dimensions, formats and materials were tested, the final version was used to approach the students selected for the study. This study was carried out on oboe students aged 6 to 12 years. In order to obtain data that prove the added value of using the device, a questionnaire survey was applied to students who were part of the initial study. Through this survey, it was possible to measure the effectiveness of the Transformer. The second part of this report focuses on observation and reflection on the context in which the Supervised Teaching Practice took place. Mestrado em Ensino de Música

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.

Very little is known about the manufacturing and use of ancient Egyptian instruments, and their discovery is very rare. An extensive radiocarbon (14C) dating program has been conducted on 25 ancient Egyptian musical instruments currently held at the Louvre Museum (musée du Louvre) and the Lyon Museum of Fine Arts (musée des Beaux-Arts de Lyon). This study includes cordophones (harps, lyres, lutes), membranophones (drums, tambourines), idiophones (clappers, crotales), as well as wind instruments (oboe) that have entered the museum collections during the 19th century or the first half of the 20th century; consequently, the original archaeological contexts of their discoveries are poorly understood. Approximately 50 14C dates enable drawing a general overview of the instruments manufacturing. A wide variety of wood material has been identified, representing both indigenous species and imported species. Results indicate that the native flora of Egypt was exclusively used until the Third Intermediate Period when the first imports could be identified. 14C results are not always consistent with relative dates previously thought, mainly based on stylistic criteria. They demonstrate these collections hold very well-preserved objects extending over 2500 years, from the Second Intermediate Period (ca. 1700 BCE) to the start of the Islamic Period (8th century CE). This project provides important results for the knowledge of ancient Egyptian musical instrument crafts.

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.

The physics of various Aerophones are described. They are: the recorder, the transverse flute, the oboe, the clarinet and some more woodwinds, brass instruments, the whistle and the organ pipe.

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 role of concert-performing, musical-pedagogical and compositional work of Vyacheslav Borysovych Tsaits in the evolutionary development of the Lviv oboe school is highlighted. The historical aspect of the formation of the Lviv oboe school, founded in 1853 by the German professor Karl Brunhofer, is considered. The evolutionary development of its established traditions on the basis of the activity of the Czech oboist Franz Fugl is analyzed. Individual features of V. B. Tsaits's concert-performing style are revealed, which have a leading importance in the evolutionary development of the Lviv oboe school (deep philosophical knowledge of a musical work and awareness of its idea and content; filigree-brilliant performance technique; virtuoso mobility and easy mastery of staccato stroke; rhythmicity, excellent intonation, extremely wide range of dynamic shades, perfect sense of form, impeccable knowledge not only of the soloist's part, but also of the orchestra, phenomenal reading of notes from the sheet, magical timbre of the instrument in different registers, sense of musical form). The individual features of V. B. Tsaits's musical and pedagogical style, the observance of which will allow to achieve even better results in the education of the current generation of oboists, are determined: reproductive methods of work on sound, improvisations in different tones, sequences and special melodic exercises throughout the oboe register; persistence in achieving accurate textural execution of piano accompaniment, etc. The Concertino for oboe with orchestra by V. B. Tsaits is analyzed, which allows demonstrating the artistic and creative and virtuoso-technical potential of the soloist-instrumentalist, the multifaceted expressive-timbre specificity of the instrument. At the same time, it is substantiated that virtuosity should not be an end in itself, but should become a means of revealing the figurative and emotional content of this concert work, which generally reflects the impressions of reading the works of Antoine de Saint-Exupery (“The Little Prince”, “Wind, Sand and Stars”, “Southern Mail”). It is proved that V. B. Tsaits's Concertino plays a special role in the evolutionary development of the Lviv oboe school, as it is one of the most favorite concert works of its representatives, Висвітлено роль концертно-виконавської, музично-педагогічної та композиторської творчості В’ячеслава Борисовича Цайтца в еволюційному розвитку львівської гобойної школи. Розглянуто історичний аспект становлення львівської гобойної школи, заснованої у 1853 році німецьким професором Карлом Брунгофером (Karl Brunhofer). Проаналізовано еволюційний розвиток закладених нею традицій на основі діяльності чеського гобоїста Франца Фугля (Franz Fugl). Виявлено індивідуальні риси концертно-виконавського стилю В. Б. Цайтца, які мають провідне значення в еволюційному розвитку львівської гобойної школи (глибинне філософське пізнання музичного твору й усвідомлення його ідеї та змісту; філігранно-блискуча виконавська техніка; віртуозна рухливість і легке володіння штрихом staccato; ритмічність; чудова інтонаційність; надзвичайно широкий діапазон динамічних відтінків; досконале відчуття форми; бездоганне знання не лише партії соліста, а й оркестру; феноменальна читка нот з аркуша; чарівничий тембр звучання інструмента у різних регістрах; відчуття форми музичного твору). Визначено індивідуальні риси музичнопедагогічного стилю В. Б. Цайтца, дотримання яких надасть змогу досягти ще кращих результатів у вихованні сучасного покоління гобоїстів, а саме: репродуктивні методи роботи над звуком, імпровізаціями в різних тональностях, секвенціями і спеціальними мелодичними вправами по всьому регістру гобоя; наполегливість у досягненні точного фактурного виконання фортепіанного супроводу тощо. Проаналізовано Концертино для гобоя з оркестром В. Б. Цайтца, яке надає змогу продемонструвати художньо-творчий та віртуозно-технічний потенціал соліста-інструменталіста, багатогранну виражальнотемброву специфіку інструмента. Водночас, обґрунтовано, що віртуозність не повинна бути самоціллю, а має стати засобом розкриття образно-емоційного змісту цього концертного твору, в якому узагальнено віддзеркалюється враження від прочитання творів Антуана де Сент-Екзюпері («Маленький принц», «Планета людей», «Пошта на Південь»). Доведено, що Концертино В. Б. Цайтца відіграє особливу роль в еволюційному розвиткові львівської гобойної школи, оскільки є одним з найулюбленіших концертних творів її представників.

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...

The article examines the groundbreaking work of the German flutist, oboist, educator, composer and conductor Johann Joachim Quantz (in particular, The Experience of Instructions for Playing the Transverse Flute, Berlin, 1752), which provides a theoretical understanding of important aspects of the instrumental culture of the Baroque era. J.J. Quantz's arguments about the orchestra, formulated in the treatise, not only allow to form ideas about the types of performing groups of the Baroque period, but also reflect the aesthetics of ideas about the optimum of orchestral writing, acoustic, timbre and dramaturgical patterns of orchestral groups and textured layers. Even taking into account the personal creative priorities of the composer-performer, on the examples of concerts for solo woodwinds (two flutes and flute and oboe) from his own creative work you can get an idea of the use of small orchestral composition in the contemporary compositional and performing tradition. musician baroque instruments. It is obvious that the orchestra is interpreted as a means of accompaniment to soloists, taking on leading functions only in short episodes of introductions to individual thematic constructions, orchestral connections in caesuras of solo parts or final cadence constructions of individual parts. The main functions of the orchestra's voices are clearly divided, depending on the drama of the deployment and the ratio of the soloists' parts, accompanying them or duplicating them in the function of ripieno. The accompaniment can be interpreted as basso continuo, as a complementary chord complex of middle voices or as an interval duplication of close instruments in terms of tenure and timbre.

Background. Oboe as a concert instrument has passed a rather long path of evolution, on which it has been improved according the parameters of its design, the technique of virtuoso play and the requests of composer writing. The concentrate of universal capabilities of the soloing (concerting) oboe is the concerto genre, in which all these parameters are combined in an integral entire. The objective of this article is to sequentially consider the components of the concerting oboe “image”, such as timbre and articulation-and-stroke technique, including typical and latestmethods of writing and playing. The methodology of researching based on the set of such approaches to the phenomenon under study as historical-and-genetic, deductive, system-and-structural. Results. Based on the consideration of the concerting principle in its historical and stylistic dynamics, the article reveals the specifications of timbre-and-technical means characterized the oboe in various genre forms of the concert. The data on the specifics of the oboe effects found in the concert music for this instrument are also systematized. The latest methods of playing are characterized, and a refined classification of multiphonics used in modern oboe practice is proposed. It is noted that the concept of concerting style first appeared in the Baroque era, when instruments and voices in the new homophonic practice began to reach the level of soloing. At the same time, the principles of concerting manner as a dialogue in various forms of its implementation were formed, among which the form of group or collective concerting represented by the genre of concerto grosso was primary in instrumental music. Within this form, the concerting oboe stands out, and for a long time it participated in a trio of soloists who performed in this genre as concertino opposing to grosso – the mass of the rest of the orchestra. The article identifies the main specific features of the timbre and technique associated with the oboe design (double reed) and the performer’s breathing (gradual exhalation). Particular attention is paid to the oboe effects technique, as well as a set of means for sound-producing and sound-leading characterized this instrument in its comparison with others belonging to the same family (wood winds) or to others (bowed string, brass instruments). On this basis, a description of the performing means of expressiveness of the oboe is proposed, including not only the specific (timbre-and-acoustic), but also the universal components that the oboe takes over from others instruments playing with him in an ensemble or an orchestra. In particular, among such there is the vibrato technique, which came to the oboe practice from the string instruments, as well as the two main groups of effects – connected (legato and its types), divided (staccato, spiccato, martele) and the special methods of playing adapted “for the oboe”, in particular, pizzicato and “slap”. (For an oboe, the “slap” is a sharp tongue strike on the reed with a simultaneous key strike or without it, as well as a key strike without blowing air in). Among the techniques that have the specific forms of reproduction on the oboe, the article discusses tremolo of different interval volumes, to which a special fingering is adjusted; frullato (the “oral” kind with using of the “r” sound like in a trumpet, and “overtone” kind producing by a performer’s throat); glissando, existing on the oboe in two versions, labial and finger. As examples of the latest methods of playing specified to the concerting oboe practice, those are discussed that contribute to the timbre re-coloring of the same sound or the sound set that significantly expands the sound-and-color capabilities of the instrument, and promotes to the process of its further universalization. These, for example, are bisbigliando, the technique that came from the harp practice, when an oboist gets the same sound in different ways; variety kinds of multiphonics; smorzato (a slow fluctuation of sound volume), oscillato (a similar change in pitch). Also the technique of doubletone is mentioned, when the oboist sings along with playing, which allows to produce consonances (intervals and even chords) on the instrument. Conclusions. The results of the research confirm the fact that the solo concerting oboe was formed in the process of a long historical and stylistic evolution, which is reflected in the genre of concerto for oboe, where the timbre-and-technical capabilities of the instrument are most complete. The complex of technique effects as the component of musical expressiveness was especially importance in formation of the cumulative sound image of the “universal” oboe. Thus, the concerting oboe was formed in line with the general processes of the development of musical thinking, which was connected with the practice of concert style, the principle of concerting as a musical and aesthetic category. Reflecting in different genre forms the development of the concert music, collective and solo, the oboe “sound image” has acquired by now the quality of genuine universalism, while retaining its specificity, connected with the features of its performing factor. The prospects for further study of the stated topic are seen, firstly, in the concretization of the stylistics of the concert oboe on examples of works of the concert genre; it will be necessary to build a certain logic of selection of material, which should not only illustrate the historical process, but also contain characteristics of individual creative embodiments of the “image” of the oboe by composers and performers. Secondly, they may be connected with the possibilities of projection in the proposed research methodology onto the concert music for others instruments.

Relevance of the study . The main direct of the European instrumental music development is a genre and stylish synthesis. A lot of contemporary oboe solo and ensemble with oboe works by Ukrainian composers are signed by those charakteristik. For example, the cycle of «Technems» by H. Liashenko from the five instrumental concert pieces, – hich have inside two original compositions with oboe, – take an important place in the composer’s creation; this pieces are known as the wide examples of contemporary concert repertuar for ensembles. They present a new kind of chamber music which was beginning with the Liashenko’s «Technems», and it’s not researching enough till now. Main objective of the study is to pay attention to this new and original genre for ensemble with oboe – «Technem № 1» for wind quintet and «Technem № 4» for oboe and fagot as soloists with the baroque symphony orchestra. Methodology The provident in this study is the comparative analyses’ method. How the study was done. The «Technem № 1» for wind quintet we’re noting as the stylish unite. It’s based on individual composer’s meaning about the melodically uniting of the themes and about it’s rules. The important direct of studying in Liashenko’s works is his meaning about «growth in form»: the whole is growth from one element. Thanks to using those principal means in his compositions, work’s structure look like the one qualities unit, while inside ones we can find a different types of intonations and of stylish elements. Results and conclusions . The sphere of wind concerts is continue by «Technem № 4», which seems as a double concert for oboe and fagot. It is the next step in the composer’s process, when the main characters of stylish synthesis are seeing on the level of intonation, form and shows the kind of nearby connections between romantic and baroque. Practical significance . The well-known connective tradition «performer – author – performer» is actually till today, and sometimes we can trade it as the corporative form of interpretation as creation.

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.