Search

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.

Submitted by Cecília Raposo (ceciliaraposo@ipcb.pt) on 2017-11-28T11:50:32Z No. of bitstreams: 1 Ana Filipa Assunção.pdf: 3107147 bytes, checksum: e57b8fcf1f57762bc5e970013deb1498 (MD5) Approved for entry into archive by Maria Eduarda Pereira Rodrigues (erodrigues@ipcb.pt) on 2018-01-07T22:42:17Z (GMT) No. of bitstreams: 1 Ana Filipa Assunção.pdf: 3107147 bytes, checksum: e57b8fcf1f57762bc5e970013deb1498 (MD5) Made available in DSpace on 2018-01-07T22:42:36Z (GMT). No. of bitstreams: 1 Ana Filipa Assunção.pdf: 3107147 bytes, checksum: e57b8fcf1f57762bc5e970013deb1498 (MD5) Previous issue date: 2017

Submitted by Isabel Gomes (itg@lisboa.ucp.pt) on 2018-01-09T08:23:35Z No. of bitstreams: 1 Adriana Dissertação Versão Final - 2017.pdf: 2716001 bytes, checksum: 1c2a79ab72cc36972a199f4827ecadea (MD5) Made available in DSpace on 2018-01-09T08:23:35Z (GMT). No. of bitstreams: 1 Adriana Dissertação Versão Final - 2017.pdf: 2716001 bytes, checksum: 1c2a79ab72cc36972a199f4827ecadea (MD5) Previous issue date: 2017-06-30

Relatório de estágio de mestrado em Ensino de Música, O presente relatório é elaborado no âmbito do Estágio Profissional do Mestrado em Ensino de Música da Universidade do Minho e reflete a Intervenção Pedagógica realizada durante o ano letivo 2016/2017, na Academia de Música de Castelo de Paiva nos Grupos de Recrutamento M14 – Oboé, e M32 - Conjuntos Vocais e/ou Instrumentais; Orquestra; Música de Câmara; Coro; Classe de Conjunto. O Projeto de Intervenção Pedagógica teve como objeto o recurso ao Canto na aprendizagem de Oboé, procurando aferir a aplicabilidade e as potencialidades desta ferramenta pedagógica na otimização da afinação, leitura, expressividade, fraseado, respiração e timbre. A mesma foi realizada em 4 alunos do ensino básico e do ensino articulado e complementar de música. Foi utilizada uma aplicação audiovisual - TonalEnergy Tuner -, como ferramenta para recolha de dados (afinação, tempo, medição de frequências), dando ênfase à gravação de uma escala maior, alvo de uma análise mais aprofundada para investigação. A aplicação foi também utilizada aquando da aplicação das técnicas vocais, como ferramenta de auxílio da medição de tempo (através do metrónomo) e afinação. Para além da utilização da aplicação, para fins investigativos foram também realizados Inquéritos em forma de questionários aos alunos em intervenção e a 34 professores de instrumentos de sopro. Dos dados recolhidos conclui-se que a intervenção pedagógica teve um impacto positivo no contexto de estágio e o canto mostra-se uma potencial ferramenta para o estudo de um instrumento musical, nomeadamente do Oboé. Para resultados mais alargados, é necessário a realização de um estudo a longo prazo., This report was written within the scope of the Professional Internship of the Master’s Degree in Music Education at University of Minho and reflects the Pedagogical Intervention carried out during the academic year 2016/2017, at the Castelo de Paiva Music Academy in Recruitment Groups M14 – Oboe and M32 – Vocal and/or Instrumental Ensembles; Orchestra; Chamber Music; Choir; Group Class. The Pedagogical Intervention Project had the use of singing while learning the Oboe as its object, seeking to assess the applicability and potential of this pedagogical tool in the optimization of tuning, reading, expressiveness, phrasing, breathing and tone. This was carried out in 4 students of basic education of articulated and complementary teaching of music. An audiovisual application - TonalEnergy Tuner - was used as a tool for data collection (tuning, time, frequency measurement), emphasizing the recording of a major scale, target of a more in-depth analysis for research. TonalEnergy Tuner was also used in the application of vocal techniques, as a tool to aid in measuring tempo (through the metronome) and tuning. In addition to using the application and also for investigation purposes, surveys were conducted in the form of questionnaires to the students in the intervention and 34 teachers of wind instruments. From the collected data it is concluded that the pedagogical intervention had a positive impact in an internship context and singing is a potential tool for playing a musical instrument, namely the Oboe. For larger results, a long-term study is required.

La indiferencia con la que se trata en los conservatorios un gran ámbito de la música española del siglo XVIII y el primer tercio del siglo XIX, como es la música de los maestros de capilla que ejercieron el catedrales, colegiatas, abadías, iglesias y conventos, hace necesario la realización de esta Tesis Doctoral. En este trabajo de investigación, se debate sobre los beneficios educativos que obtendríamos al insertar la obra de estos maestros de capilla en los conservatorios. Para llevarlo a cabo, se ha tomado como referencia la figura de Domingo Arquimbau como maestro de capilla en la catedral de Sevilla, por ser el introductor del estilo Clásico en la ciudad y por permanecer prácticamente en el anonimato en la actualidad. El instrumento elegido para realizar la investigación es el oboe, debido a la importancia que tuvo en el ámbito religioso durante todo el siglo XVIII y buena parte del XIX. Para esta investigación, se ha realizado un completo análisis de los beneficios que se obtendrían con la inserción de las obras de los maestros de capilla en el aula, previo estudio de la normativa educativa aplicable, para lo que se han transcrito estas piezas a un material más legible y enfocando su interpretación a un grupo más reducido de instrumentistas. Entre las novedades que presenta esta T.D. está el listado de maestros de capilla de las catedrales andaluzas, la historia de los oboístas de la catedral de Sevilla, un listado de las obras que se interpretaban dentro del ceremonial católico y un estudio sobre las composiciones en las que el maestro Arquimbau usa el oboe.

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.

Building/creating the learning of the oboe: Experimental implementation of improvisation and creation in Chamber Music and Group Music in a conservatory.Strategic Actions (2014-2017)An oboe's class in the music conservatory can be summed up in the practicing of the studies and of the instrument's own repertoire. In order to future oboists are able to perform scores along their life, this is the way required technique and musicality are addressed. However, we have noticed a far too large number of students who cannot find motivation in that way of approaching the class. Low performance, lack of motivation and premature abandonment are very components occurrence especially in adolescence. With this work, we expect to tackle that problem. By including improvisation and composition in the class, we expect to create in the student a need of self-expression through music that will encourage their technical and interpretative learning process. On the basis of the elements provided by Action-Research (Cain, 2008) (Kemmis & McTaggart, 1988), we have implemented two strategic actions which have helped us to understand and transform our practice within the class. Strategic Action I (school year 2014-2015) was applied to a Professional Education four-student group in Ribarroja del Turia Conservatory (Valencia); specifically, to the Music Chamber subject, in which students had to design their own repertoire and to set both technical and specific goals according to regulations for conservatoires. Short-term changes were very encouraging, though not so very a longer period of time. That took us to reflect deeply which led to Strategic Action II (school year 2016- 2017) which consisted of the didactic material design according to IEM Methodology (Instituto de Educación Musical) developed by Dr. Emilio Molina. His methodology is based on the "Improvisation as a Pedagogic System", which we have transferred and applied to the learning of the oboe. The Strategic Action II was implemented in an Elementary Education three-student group in Ribarroja de Turia Conservatory (Valencia) in an attempt to create, from the beginning, a more significant relationship between the instrument and its study. We cannot say that the results are definitive because they need the perspective of time, but they are being very motivating. Students see oboe as an instrument to express their musical ideas, not as a purpose in itself. From this perspective, difficulties are approached as personal challenges that make students feel motivated to solve. We consider this is one of the keys to make progress in any instrument learning in general and particularly in oboe's., Haciendo/creando el aprendizaje del Oboe: Aplicación experimental de la improvisación y la creación en la clase de Música de Cámara y de Conjunto en el conservatorio. Acciones Estratégicas (2014-2017).Una clase de Oboe en el conservatorio se resume en la práctica de los estudios y el repertorio propio del instrumento. Con ello abordamos la técnica y el desarrollo de la musicalidad necesarias para interpretar las partituras que los futuros oboístas irán encontrándose a lo largo de su vida. Sin embargo, hemos observado que un número demasiado amplio del alumnado no encuentra motivación con esta forma de conducirnos en las clases. Especialmente durante la adolescencia aparecen problemas de bajo rendimiento en el estudio, desmotivación y abandono prematuro. Con este trabajo hemos pretendido dar respuesta a dicho problema incluyendo la improvisación y la composición en las clases, creando en el alumno una necesidad de autoexpresión mediante la música que alentara su aprendizaje técnico e interpretativo.Basándonos en los elementos que nos ofrecía la Investigación-Acción (Cain, 2008) (Kemmis & McTaggart, 1988) hemos puesto en marcha dos acciones estratégicas que nos han ayudado a comprender y trasformar nuestra práctica dentro del aula. La Acción Estratégica I (curso 2014-2015) fue aplicada a un grupo de cuatro alumnos de oboe cursando Enseñanzas Profesionales dentro de la asignatura de Música de Cámara en el Conservatorio de Riba Roja del Turia (Valencia). En ella los alumnos han creado su propio repertorio sobre el cual trabajar, tanto los objetivos técnicos como los objetivos específicos de la asignatura según la normativa para los conservatorios. Los cambios en el corto plazo fueron muy estimulantes, no obstante no se mantuvieron en el tiempo, lo cual nos llevó a una profunda reflexión que desembocó en la Acción Estratégica II (curso 2016-2017), consistente en el diseño de un material didáctico según la Metodología IEM, (Instituto de Educación Musical) impulsada por el Dr. Emilio Molina, basada en la "Improvisación como Sistema Pedagógico", que hemos aplicado y trasladado al aprendizaje del oboe. Se puso en marcha dentro de la asignatura de Conjunto, con un grupo de tres alumnos de oboe, esta vez cursando las Enseñanzas Elementales en el Conservatorio de Riba Roja de Turia (Valencia), con el ánimo de crear una relación con el instrumento, y su estudio, más significativa desde los inicios.Los resultados, sin poder anunciar que sean definitivos puesto que necesitan de la perspectiva del tiempo, están siendo más que alentadores. Los alumnos ven el oboe como un instrumento a través del cual expresar sus ideas musicales y no como un fin en sí mismo. Desde esta perspectiva las dificultades se plantean como retos personales que el estudiante se ve motivado a solucionar. Consideramos que esta es una de las claves para que se produzcan los avances en el aprendizaje de cualquier instrumento en general y del oboe en particular., Construint/creant l'aprenentatge de l'Oboè: Aplicació experimental de la improvisació i la creació a la classe de Música de Cambra i de Conjunt en el conservatori. Accions estratègiques (2014-2017).Una classe d'Oboè al conservatori es resumeix en la pràctica dels estudis i el repertori propi de l'instrument. Amb açò abordem la tècnica i el desenvolupament de la musicalitat necessàries per a interpretar les partitures que els futurs oboistes es trobaran al llarg de la seua vida. Tanmateix, hem observat que un nombre excessivament ampli de l'alumnat no troba motivació amb eixa forma de conduir-nos a les classes. Especialment durant l'adolescència apareixen problemes de baix rendiment en l'estudi, desmotivació i abandó prematur. Amb aquest treball hem volgut donar resposta al problema incloent la improvisació i la composició dins la classe, amb la intenció de crear en l'alumne una necessitat d'auto expressió mitjançant la música, que encoratge el seu aprenentatge tècnic i interpretatiu.Basant-nos en els elements que ens oferia la Investigació-Acció (Cain, 2008) (Kemmis & McTaggart, 1988), hem posat en marxa dues accions estratègiques que ens han ajudat a comprendre i transformar la nostra pràctica dins l'aula. L'Acció Estratègica I (curs 2014-2015), va ser aplicada a un grup de quatre alumnes d'oboè, cursant els Ensenyaments Professionals dins de l'assignatura de Música de Cambra al Conservatori de Riba Roja de Túria (València). En ella, els alumnes han creat el seu propi repertori amb el qual treballar, tant els objectius tècnics com els específics de l'assignatura segons la normativa per als conservatoris. Els canvis a curt termini van ser molt estimulants, malgrat això cal dir que no es van mantindre en el temps, la qual cosa ens va portar a fer una reflexió profunda que ens abocà a l'Acció Estratègica II (curs 2016-2017), basada en el disseny d'un material didàctic segons la Metodologia IEM ("Instituto de Estudios Musicales"), impulsada pel Dr. Emilio Molina i fonamentada en la improvisació com a sistema pedagògic, que hem aplicat i traslladat a l'aprenentatge de l'oboè. Es va posar en marxa dins l'assignatura de Conjunt, amb un grup de tres alumnes d'oboè, aquesta vegada cursant els Ensenyaments Elementals al Conservatori de Riba Roja de Túria (València), amb la voluntat de construir una relació amb el instrument, i el seu estudi, més significativa des dels inicis.Els resultats, sense poder anunciar que siguen definitius, ja que necessiten de la perspectiva del temps, estan resultant més que encoratjadors. Els alumnes veuen l'oboè com un instrument amb el qual expressar les seues idees musicals, i no com un fi en ell mateix. Des d'aquesta perspectiva les dificultats es plantegen com a reptes personals que l'estudiant es veu motivat a solucionar. Considerem que aquesta és una de les claus per a que es produeixen els avanços en l'aprenentatge de qualsevol instrument en general i de l'oboè en particular., Cotolí Miguel, MV. (2017). Haciendo/creando el aprendizaje del Oboe: Aplicación experimental de la improvisación y la creación en la clase de Música de Cámara y de Conjunto en el conservatorio. Acciones Estratégicas (2014-2017) [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/89089., TESIS

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.

International audience; Empirical knowledge on particular wood species can highlight complex behaviour of the physical and mechanical properties, and can help in a better understanding in term of biomechanics of trees and fundamental knowledge on wood properties.From a craftsmen point of view, boxwoods (all the different species of Buxus) are well known and appreciated for specific applications since a long time and all over the world. From the materials science point of view, boxwoods are much less known and studied. Indeed, there are almost no scientific publications about its physical-mechanical properties. Nevertheless, box-trees are known to have an atypical gravitropic reorientation process for hardwoods. In the laboratory, a wide experimental plan has been realized on 6 trees of Buxus sempervirens in order to measure the mechanical properties of dry wood at different radial position in the stem cross section. An other experimental plan has also been realized on a living « archetypal » tree of 110 years, which restored verticality in a steep mountain slope of South of France. The physical and mechanical properties of boxwood compression wood have been found similar to what is generally observed in softwood compression wood. But, the ratios of the properties between compression wood and opposite wood are clearly different from what is observed in softwood. The hygrothermal recovery process affects the compression wood and normal wood in the same way, with a slight decrease of the specific modulus and strong increase of the damping (about 40% higher). This result asks questions in term of biomechanics and wood material science that will be developed in the presentation.

https://digitalcommons.usu.edu/music_programs/1068/thumbnail.jpg

En este trabajo de grado se acopian diferentes aspectos históricos, artísticos y documentales del formato instrumental de trio andino colombiano conformado por bandola andina, tiple y guitarra, trazando un recorrido cronológico por las agrupaciones icónicas del formato, sus repertorios, propuestas sonoras y aportes creativos. Esto con el fin de realizar una propuesta interpretativa basada en ocho obras musicales escritas originalmente para trio andino colombiano, las cuales son el resultado de la recopilación y comisión teniendo como objetivo principal la exploración de estéticas sonoras, géneros y posibilidades técnicas y expresivas recurrentes y no recurrentes en este formato instrumental. This project shows different historical, artistic and documentary aspects of the Andean Colombian trio, composed by Andean bandola, tiple and guitar, drawing a chronological route by the iconic ensembles of the format, repertoires, sound proposals and creative contributions are gathered. This, in order to make an interpretive proposal based on eight musical works originally written for the Colombian Andean trio, which the result of the compilation and commission, following the main objective that is the exploration of aesthetic sounds, genres technical possibilities and expressive recurrent and not recurrent in this instrumental format. Magíster en Música Maestría

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.

Hardy's works reference many musical instruments used in both church (west gallery) bands and his paternal family's leadership of the Stinsford Church gallery band: while the Hardy family band consisted entirely of string instruments (violins and cello), Hardy makes frequent reference to the clarinet (rendered as clarionet and clar'net), barrel organ, oboe (hautboy), drum, tambourine and serpent — the last of these is the subject of this article. Possibly the least known instrument found in Hardy's bands — if the most exotic — the serpent, its development and use in England in the early 19 th century, is of considerable interest to organologists and students of the west gallery musical tradition. Hardy's works that speak of the serpent shed light on a colourful corner of his writing and provide an opportunity to gain a better understanding of the instrument's role and sound in nineteenth century England.

The Ecological Metadata Language (EML) is an XML-based metadata specification developed for the description of datasets and their associated context in ecology. The conversion of EML metadata to an ontological form has been addressed in existing observation ontologies, which are able of providing a degree of computational semantics to the description of the datasets, including the reuse of scientific ontologies to express the observed entities and their characteristics. However, a number of practical issues regarding the automated translation of the available EML datasets to a representation with formal semantics and its subsequent integration into Research Information Systems (RIS) require separate attention. These issues include expressing meaning by using existing terminologies, the mapping of EML with models of research information and the mapping with mainstream metadata schema. This paper describes the approach taken for that purpose in the VOA3R project, describing the main mapping and translation decisions taken so far and some common pitfalls with metadata records as they are currently available through the Web.

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.

lthough music educators in training com plete a battery of courses pertaining to the playing and teaching techniques of the instruments that will be found in their fu ture classrooms, the intricate details of learn ing to play and teach the five Western wood wind instruments successfully are at times overlooked in teacher preparation programs. Unfortunately, it is not until instrumental edu cators begin to teach that they face series of unique challenges that beginning woodwind students also face when they, too, enter the classroom. Statements such as "Anthony, I know that the oboe is a difficult instrument

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.

Laney Beck came to stay with us the autumn that my older brother, Darren, turned sixteen and insufferable. It had been a torrid sum mer?the second hottest on record along Florida's Gulf Coast?so dry that the freshwater pond behind our motel withered into caked, cracking earth. Carcasses of alligators and armadillos lined the parched drainage ditches along the roadbeds. Sea grapes shriveled in black clusters. But Darren's fixation that August was the shape of his ears, how one curved up gently like the sheath of a fig shell, while the other rose to an elfin point. He studied his reflection at every opportunity: in shop windows, swimming pools, the Plexiglas faces of vending machines. He tried to "cure" the deviant ear with a convex brace fashioned from pipe cleaners. My brother's other obsession was driving, and he was all too willing to chauffeur me to junior tango practice and oboe lessons as a pretext to borrow Mama's Taurus. Or, if it meant extra time behind the wheel, to pick up Laney Beck from the airport in Fort Myers. So that's how it happened. Darren volunteered and I went with him. Not by choice, of course. But the day after Columbus Day was Superintendent's Conference Day in the Lee County schools, which meant that big brothers all over Cormorant Island were saddled babysitting their twelve-year-old sisters. Mama had wanted to drive out to the airport herself?Laney Beck was her oldest friend, after all, her only real friend?yet with Papa still up in St. Petersburg, tending to Aunt Pricilla, she didn't trust my brother to man the motel office solo. Especially not on a Tuesday, when the linens went out. Darren drove for speed, not accuracy. At the traffic lights, he flipped down the ceiling mirror and scoured his face for blemishes. At the longer lights on Nautilus Boulevard, he filed his fingernails. I've always felt a twinge of terror crossing bridges, and cruising over the causeway to the mainland at twice the posted limit, I dug my fingernails deep into the vinyl upholstery. But I knew not to beg Darren to be careful. That was a guaranteed way to make him hit the gas.

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.

Enlace web: http://www.revista.uclm.es/index.php/ensayos El presente trabajo es fruto de una investigación que partió del estudio pormenorizado sobre la evolución de la normativa referente a las Enseñanzas de Música en la Comunidad Autónoma de Andalucía hasta hoy en día. Actualmente, el sistema educativo está reglado por la LEA, suponiendo como gran aportación la práctica grupal como modo de aprendizaje en los dos primeros cursos. Tras un profundo análisis del material disponible que hay para el profesorado de la especialidad de oboe, en este artículo quedan plasmadas las directrices de nuestra propuesta metodológica para la práctica instrumental en grupo en la especialidad de oboe en los dos primeros cursos de las Enseñanzas Básicas. The current work is the result of a research that started from the detailed study on the evolution of the regulations regarding about Music Education in the Autonomous Community of Andalusia to the present. Nowadays, the education system is regulated by the LEA (Andalusian Education Law), assuming group practice as a major contribution like a way of learning in the first two years. After a deep analysis of the existing available resources material for oboe teachers, in this article are reflected the guidelines of our methodological proposal for the instrumental group practice for oboe specialty in the first two years of the Basic Education. 该研究是一项根据安达卢西亚大区所实施的音乐教学法规演变详细研究，所进行的学术研讨。目前，由 LEA 监管该教学体系，假设该学习方式为第一学年及第二学年的分组练习起到了重要性作用。在对双簧管专业的教师资料进行深入分析后，该研究指出了在基础教学的两个前期课程中，双簧管专业进行分组练习过程中的实践方法论。

Relatório de Estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do Grau de Mestre em Ensino de Música - Instrumento e Música de Conjunto. Submitted by Maria Eduarda Pereira Rodrigues (erodrigues@ipcb.pt) on 2016-04-19T14:21:13Z No. of bitstreams: 1 TM_LOUISE_WHIPHAM.pdf: 11015559 bytes, checksum: aac2e7193b9fa933fa5771b797d3626b (MD5) Approved for entry into archive by Maria Eduarda Pereira Rodrigues (erodrigues@ipcb.pt) on 2016-04-19T14:42:14Z (GMT) No. of bitstreams: 1 TM_LOUISE_WHIPHAM.pdf: 11015559 bytes, checksum: aac2e7193b9fa933fa5771b797d3626b (MD5) Made available in DSpace on 2016-04-19T14:42:38Z (GMT). No. of bitstreams: 1 TM_LOUISE_WHIPHAM.pdf: 11015559 bytes, checksum: aac2e7193b9fa933fa5771b797d3626b (MD5) Previous issue date: 2016

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

Bu metinde Francis Poulenc'in Obua ve Piyano Sonatı; Obua, Fagot ve Piyano için Trio'su; Piyano ve Üflemeler için Altılı'sı incelenmiştir. Bestecinin yaşadığı dönem ve bu dönemin Poulenc'in yaratıcılığı ile oda müziği besteciliğine olan etki ve katkılarının önemi vurgulanmıştır.ANAHTAR KELĠMELER: Poulenc, Paris, Les Six, Obua, Sonat This paper examines Francis Poulenc's Oboe and Piano Sonata; Trio for Oboe, Basson and Piano, and Sextet for Woodwind and Piano. It also focuses on the era in which the composer lived, and its effects on Poulenc's creativity and chamber music composition.KEYWORDS: Poulenc, Paris, Les Six, Oboe, Sonata 135

[EN] The purpose of this research is to study the physical and harmonic content of the sound produced by the oboe in the chords of the fourth and fifth joust, in the first and second octave, in order to develop a method to improve the tuning of the oboe. This work is composed of two distinct parts: the study of the harmonic content of isolated notes, played by a single oboist; and the harmonic content of the chords of the fourth and fifth joust, played by two professional oboists. Exhaustive measurements have been processed in order to obtain a pattern which is aplicable in different contexts. Acoustic measurements show the frequencies of sound (in hertz), in addition to the sonorous intensity (loudness). In the case of chords, these measurements correspond to the sound generated by their component notes and their relative intensities. This project has established experimental indexes beyond just collecting significant results for this study. For this reason, the knowledge obtained across these analyses will serve to develop a system to improve the tuning of oboes, which is readily extendible to any other instrument., [ES] En este TFM se plantea el estudio del contenido armónico del sonido producido por un oboe. Se realizarán mediciones exhaustivas y su posterior procesado para obtener un patrón fidedigno, aplicable a distintas situaciones de contexto. Una vez realizado el proceso de medición, el objetivo final será el de aplicar los datos obtenidos para obtener un sistema de mejora de la afinación.