How to Make Double-Reeds for Oboe, English Horn and Bassoon

1940 ◽  
Vol 26 (5) ◽  
pp. 56
Author(s):  
George Waln ◽  
Joe Artley
Keyword(s):  
English Horn ◽  
Double Reeds

scholarly journals New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra

2018 ◽  
Vol 5 (2) ◽  
pp. 75-85
Author(s):  
Singgih Sanjaya
Keyword(s):  
Instrumental Music ◽  
Driving Force ◽  
English Horn ◽  
Special Composition ◽  
Solo Instrument

this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.

The Importance of Original Double Reeds Today

1977 ◽  
Vol 30 ◽  
pp. 145
Author(s):  
Hansjurg Lange ◽  
Bruce Haynes
Keyword(s):  
Double Reeds

Grover Schiltz

2020 ◽  
pp. 209-223
Author(s):  
Michele Fiala
Keyword(s):  
Assistant Principal ◽  
English Horn ◽  
Tone Production ◽  
American Style ◽  
A Performance ◽  
Breath Control

Grover Schiltz was one of the Chicago Symphony Orchestra’s longest-serving members, from 1959 until his retirement in 2005. He played assistant principal oboe until 1964 and served as principal English horn from 1964 to 2005. In this interview, he discussed warming up, technique, breathing, breath control, and vibrato. He provided advice on reeds, auditions, how to prepare for a performance, and tone production. He talked about the differences in performance between oboe and English horn. He offered advice how to teach musicianship, the nature of talent, and Baroque ornamentation. He shared which artists inspired him, reminiscences about his greatest concerts, and his observations on how the American style changed during his career.

RESPONSES OF VARIOUS DOUBLE REEDS TO CHANGES IN ACTIVATING GAS

1968 ◽  
Vol 155 (1) ◽  
pp. 351-367 ◽  
Author(s):  
C. J. Campbell ◽  
John A. Murtagh
Keyword(s):  
Double Reeds

English horn (jazz)

2003 ◽  
Keyword(s):  
English Horn

Adjustment and control of double reeds for direct blown early instruments

Early Music ◽  
1980 ◽  
Vol 8 (3) ◽  
pp. 361-365
Author(s):  
JOHN F. HANCHET
Keyword(s):  
Double Reeds ◽  
And Control

scholarly journals NAMELESS STAR: EDISON DENISOV’S MUSIC IN THE DISCOURSES OF AN UNORDINARY STORY

2021 ◽  
Vol 17 (2) ◽  
pp. 121-147
Author(s):  
TATIANA I. NAUMENKO ◽  
◽  
ANASTASIA A. MOLOZYA ◽  
Keyword(s):  
Film Music ◽  
Music Teacher ◽  
Special Role ◽  
English Horn ◽  
Electric Locomotive ◽  
Romantic Comedy ◽  
Musical Drama ◽  
Avant Garde ◽  
Edison Denisov

The article addresses the 1978 film Nameless Star (directed by Mikhail Kozakov, music by Edison Denisov) as one of the few examples of on-screen art in which music not only supports the story, but comes to the fore, becoming one of its characters. Naturally enough, in this article, Nameless Star is considered through the lens of its musical concept. The focus is on some of the composer’s individual features that characterize his film music. Among the main ones is Denisov’s fundamental idea about integrating music into a single canvas of a film work, which directly affects its figurative and stylistic characteristics and poetics in general. In this vein, the author analyzes various interpretations of the plot (or, rather, plotlines—the encounters of the main characters, the discovery of a new star, etc.), which have significant divergences in the texts of different authors and direct participants in the filming process; the main semantic points highlighted in the film by keywords (“station”, “diesel-electric locomotive”, etc.); and, finally, the film’s sound and musical design shaping a single line of storytelling. The special role of sound elements (train noise, station bell, etc.) accompanying the narration and endowing it with special thoroughness and authenticity is revealed. It is noted that the dramatic center of the film is an impromptu performance of the Symphony composed by one of the main characters—Mr. Udrea, music teacher. The significance of this artwork in the context of the narration is extremely high: decisive plot turns are associated with the Symphony; it combines intonations and leitmotifs that determine the overall emotional tone of the film. Edison Denisov manages to reproduce Udrea’s intention to the finest detail, creating a nuanced intonation-thematic profile of the Symphony, thanks to, among other things, skillful timbre-rhythmic differentiation. Over and above, he structures musical drama in such a way that during performance of the Symphony, the semantic dominants of the film, embodied in the system of its main sound images, get actualized (theme of the city, Mona’s theme, etc.). In a sense, the music here goes beyond being a mere soundtrack: it becomes an integral part of the plot, penetrating into the words of the heroes (recurring mentioning of the English horn or the story about the structure of the Symphony). Largely thanks to the music, which brings new implications to the film, the romantic comedy appears as a complex, multiplanar work, revealing an unordinary facet in the creative gift of one of the most convinced avant-garde composers of the 20th century.

The oboe and English horn works of Ross Edwards and his place in Australian music

2016 ◽  
Author(s):  
Angela Lickiss Aleo
Keyword(s):  
English Horn

scholarly journals The Macropolitics of Microsound: Gender and sexual identities in Barry Truax’sSong of Songs

2017 ◽  
Vol 23 (1) ◽  
pp. 80-90
Author(s):  
Danielle Sofer
Keyword(s):  
Gender Norms ◽  
Song Of Songs ◽  
English Horn ◽  
Biblical Text ◽  
Environmental Sounds ◽  
Song Of Solomon ◽  
Sexual Identities ◽  
Sexual Orientations ◽  
Oboe D'amore ◽  
Gender Categories

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.

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