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Intraoral Pressure and Sound Pressure During Woodwind Performance

Description: For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are …
Date: May 2016
Creator: Bowling, Micah
Partner: UNT Libraries

Charlotte Bray's "Here Everything Shines": Interview, Analysis and Performance Guide

Description: This dissertation examines a recent work for flute and piano, Here Everything Shines, by a living composer, Charlotte Bray, including a study, analysis and performance guide. The composition was largely inspired by the late Cape Verdean singer Cesária Évora and her song Petit Pays. My research explores the influence of Évora's song on Here Everything Shines, including the melodic development, tonal center, style and freedom of her singing and the impact the song has on a performer's interpretation of Here Everything Shines. The study examines the text of the song, the emotions evoked and reflects on the compositional elements in Here Everything Shines. Originally written for flute and guitar and commissioned by Tom Kerstens for International Guitar Foundation, Here Everything Shines was published in 2015. Bray transcribed it for violin and piano at request of Darragh Morgan and Mary Dullea and subsequently for flute and piano at my request. This dissertation compares the three versions for flute and guitar, violin and piano, and flute and piano and examines the variations between flute and violin as well as guitar and piano parts. The performance guide includes the composer's input on both interpretation and implementation of her ideas throughout the work.
Date: May 2020
Creator: Kuscer, Lana
Partner: UNT Libraries

The Role Of The Piccolo In Beethoven's Orchestration

Description: This dissertation discusses the role of the piccolo in Beethoven’s orchestration in his symphonic works. These include the Fifth Symphony, the Sixth Symphony, the Egmont Overture and the Ninth Symphony. The document includes the history of piccolo’s development since the ninth century B.C. until the modern Boehm piccolo. The author provides comparative observation through Beethoven’s orchestration techniques such as the range covered, instrumental pairing, balance, and melodic organization of each symphony works. In addition to discussing development of the piccolo in orchestration, this study compares the piccolo’s usage through motives (e.g. the “Ode to Joy” theme), harmonic analysis; range; balance; and melodic organization. Appendix A provides of tables that summarize piccolo’s harmonic function of works discussed to help the reader comprehend the piccolo function at a glance. This dissertation includes observations of performers, theorists and musicians; and these guides provide the reader with better understanding of the piccolo’s place in Beethoven’s orchestration. By following the observations, piccolo players will bring a deeper musical and technical understanding to individual performances.
Date: December 2011
Creator: Teng, Kuo-Jen
Partner: UNT Libraries

The Poetic and Musical Dialogue of Ambrosini and Cavalcanti: a Study of Claudio Ambrosini’s a Guisa Di Un Arcier Presto Soriano for Solo Flute

Description: Claudio Ambrosini’s (b. 1948) unpublished work for unaccompanied flute, A guisa di un arcier presto soriano (1981), although virtually unknown to the musical public and to connoisseurs alike, represents one of the most dazzling and impressive displays of extended techniques in the repertoire of solo flute music. The title, A guisa di un arcier presto soriano, comes from the seventh line of a sonnet by the Italian medieval poet Guido Cavalcanti (ca. 1250-1300) and translates as “just like a fast Syrian archer.” The archer in question is Eros, the Greek god of love. By the composer’s own admission, the form and expression of this piece is closely linked with the form and expression of Cavalcanti’s sonnet. In particular, Ambrosini intimates three elements specifically drawn from the poem: 1) moments of tension and suspense, as Eros silently approaches his target with bow and arrow in hand; 2) moments of love, even to the point of suggesting a love song; and 3) moments that suggest the fast passage of arrows. The purpose of this dissertation is to explore these three elements in Ambrosini’s work and to trace the correlations of the same elements in Cavalcanti’s sonnet. The expression of such concrete poetic imagery in Ambrosini’s music is at times easily deciphered through clear programmatic gestures or wordless madrigalisms; and at other times the symbolism of the poetry is developed in a hidden and metaphorical manner in its musical iteration. Further, Ambrosini’s use of a particularly colorful and vast array of extended techniques serves as the impetus for the formal structure that the music embodies, and I will show that this formal structure is itself a symbolic and metaphorical representation of the poetic significance of Cavalcanti’s sonnet.
Date: August 2013
Creator: Choi, Su-hyun
Partner: UNT Libraries

Traité de la flûte historique, technique et pedagogique: A Study of René Le Roy's Flute Method

Description: In 1966, René Le Roy (1898-1985) and his student Claude Dorgeuille co-authored Traité de la flûte historique, technique et pedagogique. This treatise presents the culmination of Le Roy's career as a renowned performer and teacher in both Europe and North America. His approach to the study of music, as presented in the method, diverges from traditional French training, instructing teachers to compose exercises specific to the needs of the student and by using repertoire as source material. Claude Dorgeuille writes of the method, "...the Traité gives an outline analysis of the principal elements of technique, thus allowing exercises to be devised as appropriate to the needs of the individual." Using Le Roy's treatise, I demonstrate the application of his teaching to Jacques Ibert's Deux stèles orientées pour voix et flûte (1925), a work dedicated to and premiered by Le Roy, through the creation of individual exercises tailored to preparation of Ibert's work.
Date: May 2018
Creator: Rodriguez, Jennifer
Partner: UNT Libraries

The Comparative Analysis of Slovakian Folk Elements From Béla Bartók’s for Children in Paul Schoenfield’s Slovakian Children’s Songs

Description: Paul Schoenfield’s Slovakian Children’s Songs for flute and piano is a unique work in the flute repertoire, incorporating Slovakian folk quotes from Béla Bartók’s For Children (Volume II, Based on Slovakian Folk Tunes) with layers of Slovakian folk elements used in the overall texture. The primary objective of this dissertation is to expand the limited resources available to flutists regarding Slovakian Children’s Songs. Detailed comparative analysis will demonstrate both Paul Schoenfield’s use of Slovakian folk tunes in the piece and his compositional style. In addition, this dissertation will develop the performer’s understanding of the work through background information, comparative analysis, and interviews to encourage insightful and informed performance. The dissertation’s purpose will be achieved through examining 1) the life, historical, and musical background of Paul Schoenfield and Slovakian Children’s Songs, as well that of Béla Bartók and For Children, and 2) how Schoenfield quotes and arranges Bartók’s For Children by providing a comparative analysis. Interviews with both the composer and Carol Wincenc will be included in the dissertation along with performance suggestions received directly from Carol Wincenc in the appendix.
Date: August 2015
Creator: Son, Kristyn Hyun
Partner: UNT Libraries

Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano

Description: Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.
Date: August 2019
Creator: Pillman, Laura, 1990-
Partner: UNT Libraries

A Performance Guide to Wu Yiming's "A Poem Carved in Stone"

Description: A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.
Date: December 2020
Creator: Xie, Dongni
Partner: UNT Libraries

Erwin Schulhoff (1894-1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86

Description: Erwin Schulhoff (1894–1942) was a Czechoslovakian musician born in Prague, to a German-Jewish family, and whose life came to a premature end in 1942 at the Wülzburg concentration camp, near Weißenburg, Bavaria. Schulhoff’s life, compositional style, and two of his flute works are addressed in this dissertation: Sonata for flute and pianoforte, WV 86, and Concertino for Flute, Viola, and Double Bass, WV 75. Each work is considered as a discrete entity, and insight provided into the structure of the music; stylistic and compositional influences, form, phrase structure, and other aspects are discussed. The intended audience is the flutist seeking knowledge regarding the historical significance and performance of each piece. The analysis and summary of Schulhoff’s life and primary flute works will contribute to the understanding of performance scholarship of his music and provide a deeper understanding of the composer, from the perspective of musical and compositional style.
Date: December 2011
Creator: Harman, Maria D Alene
Partner: UNT Libraries

A Combination of Asian Language with Foundations of Western Music: An Analysis of Isang Yun's Salomo for Flute Solo or Alto Flute Solo

Description: This dissertation introduces a Korean composer, Isang Yun (1917-1995), who embraced European traditions but retained Asian characteristics in his compositions. Attending the 1958 summer course in Darmstadt in Germany, Yun was strongly influenced by the avant-garde style of Boulez, Stockhausen, Nono, and Cage. In addition to his work as a composer, Yun distinguished himself, as one of the most important Asian composers to blend Eastern and Western music; and although his musical training focused on Western music, he continued the pursuit of Eastern sounds and philosophies throughout his musical life. Imprisoned in 1967 by the South Korean government, Isang Yun's music, particularly in later life, incorporates his beliefs on social and political issues together with musical ideas. Although his love of country was deep, Isang Yun was not allowed to return to South Korea, and he lived in Germany for the remainder of his professional life. In this study, my purpose is to investigate the development of Yun's musical ideas from his acceptance of Taoism four structures in the world: the Tao, heaven, earth, and man. The presence of both Western and Eastern influences in Yun's music provides the basic of his musical style, and analysis of Salomo für Altoflöte oder Flöte is included in this dissertation.
Date: August 2005
Creator: Hur, Dae-Sik
Partner: UNT Libraries

Expansion of Musical Styles, Function of Texture, and Performing Techniques in Brian Lock's Sonic Archaeologies No. 1: A Performance Guide

Description: British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites interpretation blending and altering traditional sounds through microphones and a processed signal flow. The performance guide will address acoustical considerations when the flute sound is being manipulated by dynamic and time-based processors in live performance; the interaction between the flute, electronics and acoustic spaces; the elements of sound production that provide interpretation of contemporary popular styles; and the opportunities for the performer to find, explore and develop artistry beyond the limitations of music notation.
Date: May 2016
Creator: Pardo, Daniel (Flutist)
Partner: UNT Libraries

Tommy Smith's Two Sonatas, "Hall of Mirrors" and "Dreaming with Open Eyes": A Performance Guide and Analysis

Description: Tommy Smith is considered by many to be one of the greatest jazz saxophonists not only in Scotland, but world-wide. Celebrated for his virtuosic performance skills, tremendous compositions, and prized albums in the jazz idiom, Smith has also had great success as a composer and performer of the classical genre. Fusing the styles of jazz and classical, he composed and recorded two sonatas, entitled, Sonata No. 1 - Hall of Mirrors and Sonata No 2. - Dreaming with Open Eyes, on his 1998 album, Gymnopédie: The Classical Side of Tommy Smith. Unique pieces, they are not considered standard repertoire in the classical saxophone world, however, they are welcomed, substantial works for either the soprano or tenor saxophone and piano. Composed in a classical style and performed with jazz inflections and improvisation, these sonatas are challenging pieces to learn and execute at a high level. For many classical saxophonists, improvising a cadenza or utilizing standard jazz performance techniques could dissuade them from performing these terrific, distinctive works. This study is intended to aid in the learning and presentation of these two pieces, and includes transcriptions from Tommy Smith's album, errata, and performance analyses for each sonata.
Date: August 2019
Creator: Dunbar, Sarah
Partner: UNT Libraries

Theobald Boehm and the History of the Alto Flute, Including the Facsimile Edition of His Arrangement of Beethoven's Largo From the Concerto for Piano, Op. 15, No. 1 for Alto Flute and Piano (C. 1858), With Three Recitals of Selected Works by Griffes, Telemann, Bartok, Jolivet, Gaubert and Others

Description: An historical perspective of Theobald Boehm (1794-1881) and his design of the modem alto flute. Chapters I and II discuss the development of design, playing technique and repertoire of the ancestors of the modem alto flute beginning with the Renaissance consorts detailed in the treatises of Agricola, Praetorius and Mersenne, through the Baroqueflate d'amour and its use in the music of J.S. Bach, to Boehm's alto flute design (c. 1855) and its use in early twentieth-century orchestral and chamber repertoire such as Stravinsky's Le Sacre du Printemps (1911), ending with specific aspects of contemporary alto flute design and manufacture since 1950, including the innovations of Dutch flutemaker Eva Kingma. Chapters III and IV concentrate on Boehm's mechanical and acoustical developments for the concert flute in C, the resulting modem alto flute in G, and his career as a virtuoso flutist, teacher, and composer. Chapter V is a critical commentary on Boehm's arrangement of Beethoven's Largo from the Concerto for Piano, Op. 15, No. 1 for alto flute and piano (c. 1858). Appendices A and B include the facsimile of the unpublished Largo manuscript and a list of Boehm's works for alto flute.
Date: May 1997
Creator: Redcay, Andrea
Partner: UNT Libraries

Les Morceaux de Concours de Flûte du Conservatoire de Paris: A Structural Comparison of Selected Works of Jean-Louis Tulou and Joseph-Henri Altès: A Lecture Recital Together with Three Recitals of Selected Works of Mozart, Halffter, Gaubert and Others

Description: The lecture was presented April 7, 1987. This presentation centered on the flute music literature used for the Concours of the Conservatoire de Paris from 1828 through 1893. The historical parameter began with Jean-Louis Tulou's tenure as flute professor at the Conservatoire and ended with Joseph-Henri Altes'tenure in the same capacity. The Concours is an annual performance competition to determine which students on each instrument will graduate from the Conservatoire. The majority of Concours pieces for flute during the tenures of professors from Tulou through Altes were composed by those two men. Short biographies of Tulou and Altes were presented. Discussion of interim professors Victor Coche and Vincent-Joseph Dorus was included, with focus on the role of these two men in bringing acceptance of the Boehm system flute to the Conservatoire. Tulou's fifteen Grands Solos were compared in form, key center and tonal progression. His themes and passagework are constructed to best display the conical-bore, old system-flute with small toneholes. His Solos continued to be used for the Concours, in alternation with Altes', throughout the tenures of both Vincent-Joseph Dorus and Altes. Tulou's Cinquieme Grand Solo was used for more detailed analysis and performance. Altes wrote his Solos de Concours for the Boehm system flute. Idiomatic treatment in composition of themes and passagework, as well as tonal progression in his Solos, was considered. Altes' Methode de flute reveals his views on variety in articulation, use of alternate fingerings, and musical interpretation. Those ideas are reflected in the construction of his Cinquieme Solo de ronrnwr. the example used for more detailed analysis and performance. The discussion was concluded by a comparison of the Solos of Tulou and Altes with regard to form, tonal progression, and idiomatic construction of themes and passagework.
Date: August 1987
Creator: Lattimore, Lee Ian
Partner: UNT Libraries

Ida Gotkovsky's Eolienne Pour Flute et Harpe in Theory and Practice: A Critical Analysis

Description: This dissertation addresses specific theoretical issues within Gotkovsky's Eolienne. She was a student of Messiaen, and his influence is evident in Eolienne, but at the same time, Gotkovsky's compositional voice is both personally distinctive and reflects l'esprit de temps of the twentieth century Parisian musical world. The research provides extensive analytical insight into Gotkovsky's musical language in Eolienne, specifically her use of symmetrical scales, emphasis on timbre, and formal constructs. Because there are limited scholarly resources available on the subject of flute and harp chamber music, and a small amount of biographical information on Gotkovsky, this dissertation is a significant contribution within the area of chamber music for flute, both historically and theoretically. It provides an analysis of Gotkovsky's musical language and the analysis gives performers access to musical-theoretical information previously unavailable.
Date: May 2010
Creator: Surman, Patricia Jovanna
Partner: UNT Libraries

The Klezmer Influence in Paul Schoenfield’s Klezmer Rondos

Description: Paul Schoenfield’s Klezmer Rondos is a work for flute, male vocalist, and orchestra revised in 1994 according to the score given to me by the composer. A review of current research in klezmer heritage music is the starting point to place Klezmer Rondos in the context of art music infused with klezmer flavor. Klezmer music can be defined as the instrumental folk music of Eastern European Jews, however because of its adaptability and quality of assimilating other cultures within it, this heritage music is constantly in flux. By looking at the research in this field, I describe how the sound of klezmer music has evolved and how popular notions have been formed. The body of this research explores the main musical aspects of Klezmer Rondos that can be tied to the klezmer tradition: scales and thematic materials, improvisatory elements, ornamentation, and instrumentation. Klezmer Rondos moves beyond a simple arrangement of vernacular music for orchestra; it is a fusion of contemporary art music with the elements of klezmer style.
Date: December 2011
Creator: Trimble, Mark
Partner: UNT Libraries

The Early Music Ensemble in 21st Century America

Description: The early music ensemble has evolved from a counterculture to a mainstream musical genre. Because of this early music is having to learn arts management. Once a unique force it now competes with other arts organizations for funding and audience. Unlike other arts groups, early music has little help from within to clarify non-profit management. Through three types of surveys that were e-mailed to 239 early music organizations and 20 early music societies, an assessment of what is currently happening with early music ensembles in terms of growth, funding and over all well-being can be made. The information obtained revealed that most early music ensembles have little or no training in how to run an organization. This inexperience is creating problems and changing the face of early music. Information from the surveys also reveals that even with the economic problems over the last three years, early music is continuing to survive.
Date: December 2003
Creator: Assid, Tonya
Partner: UNT Libraries

Osvaldo Lacerda’s Sonata for Flute and Piano (1959): A Performance Guide with Historical Background of Brazilian Genres Embolada, Serestra, and Baião

Description: Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.
Date: December 2012
Creator: Gimenes, Marilia Gabriela do Nascimento
Partner: UNT Libraries

The Flute: the Mechanical Improvements on the Body of the Orchestral Instrument since 1847

Description: This thesis uniquely explains the mechanical improvements which have occurred to the flute over the last 147 years. Theobald Boehm revolutionized the flute by changing many of its components culminating with the 1847 model flute. Since that time other improvements have been made which enhance the flute's capabilities in terms of pitch, tone, timbre, and simplification offingeringpassages. Among those improvements which are discussed in the following pages are the Dorus G-sharp key, the gizmo key, the Cooper scale, and The Brogger Mekanik as well as the makers behind the various improvements including Vincent Dorus, George Barrere, and Albert Cooper.
Date: August 1994
Creator: Nussbaum, Carolyn
Partner: UNT Libraries

Light From Behind the Iron Curtain: Anti-Collectivist Style in Edison Denisov's Quatre Pièces pour flûte et piano, With Three Recitals of Selected Works by Bach, Beaser, Carter, Fauré, Martin, Ibert, Liebermann, and Others

Description: An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.
Date: August 2000
Creator: Luce, Brian
Partner: UNT Libraries

Six Oboe Sonatas by Giuseppe Sammartini (Sibley Manuscript S. 189): With Critical Commentary and a Performing Edition of Sonata Five, a Lecture Recital, Together with Three Other Recitals

Description: The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.
Date: December 1985
Creator: Combs, Julia C. (Julia Carolyn)
Partner: UNT Libraries
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