The treatment of the bassoon in three chamber works of Igor Stravinsky.

Persistent Link:
http://hdl.handle.net/10150/186265
Title:
The treatment of the bassoon in three chamber works of Igor Stravinsky.
Author:
Hausfeld, Gretchen Gayle.
Issue Date:
1993
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demonstrate why Stravinsky's works seem so ungrateful to many modern bassoonists who have been trained on the German system instrument.
Type:
text; Dissertation-Reproduction (electronic)
Keywords:
Bassoon music -- History and criticism.
Degree Name:
A.Mus.D.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Committee Chair:
Dietz, William

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleThe treatment of the bassoon in three chamber works of Igor Stravinsky.en_US
dc.creatorHausfeld, Gretchen Gayle.en_US
dc.contributor.authorHausfeld, Gretchen Gayle.en_US
dc.date.issued1993en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractThis document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demonstrate why Stravinsky's works seem so ungrateful to many modern bassoonists who have been trained on the German system instrument.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.subjectBassoon music -- History and criticism.en_US
thesis.degree.nameA.Mus.D.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.chairDietz, Williamen_US
dc.identifier.proquest9328569en_US
dc.identifier.oclc703280491en_US
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