19 10 1573 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Basden, David (b. 1957). Gender Male Work Title of the musical composition. Seven Miniatures for Bassoon. The Rocks, NSW, AUS: Australian Music Centre. 1. Intrada 2. Study I 3. Folksong 4. March 5. Blues 6. Study II 7. Epilogue Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 9 minutes Description This moderately challenging work was composed in 1992 for Lorelei Dowling and first performed by her. It was revised in May 2008. The music is pitch-centric, ascends to C#5, and covers a wide emotional spectrum with performance instructions such as ‘Whimsically,” “Sadly,” “Spiky,” and “boisterously.” Date Range of Work 1992, 2008 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Basden: Seven Miniatures Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.australianmusiccentre.com.au/artist/basden-david Australia Australian https://facultyprojects.library.appstate.edu/files/original/a2aea609e73c028cc92d900d84150ee5.jpg 93ed6849264036716858b33994917c11 IMC Kit Call Number 372.7 B299 Catalog Link <a href="http://wncln.wncln.org/record=b5175992~S2">Catalog Link</a> Grade Level 1 2 3 School Subject Math Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Base ten blocks Subject The topic of the resource Mathematics -- Study and teaching (Elementary) Place value (Mathematics) Description An account of the resource 100 base ten units, 50 rods, ten flats, 1 guide (15 p. : ill. ; 22 cm.) ; in plastic covered container (20 x 33 x 13 cm.) Type The nature or genre of the resource kit Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Bassett, Leslie (b. 1923). Gender Male Work Title of the musical composition. Metamorphoses. New York: Peters. 1. Plaintive. (Stravinsky: Rite of Spring) 2. Assertive, robust. (Prokofiev: Peter and the Wolf) 3. Lyrical, expressive. (Tchaikovsky: Symphony #4) 4. Very fast. (Beethoven: Symphony #3) 5. Brilliant. (Beethoven: Symphony #1) 6. Smooth, flowing. (Beethoven: Symphony #8) 7. Tremolos with solo. (Scriabin: Poem of Ecstasy) 8. Dance. (Chabrier: España) Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 14 minutes Description This composition is aptly described by the notes provided with the score: Metamorphoses was commissioned by friends, colleagues and students of L. Hugh Cooper, Professor of Music (Bassoon) at the University of Michigan, on the occasion of his retirement and in appreciation of his many contributions to performance, teaching and research. The premiere performance was by Gwendolyn (Wendy) Rose at the University on February 12, 1991, with immediate subsequent performances by Richard Beene. Each of the eight Metamorphoses emerges and unfolds from a brief source, a fragment drawn from the orchestral bassoon literature. Tempos, pitches and rhythms may be substantially changed from the original, yet the sources remain clearly recognizable, giving rise to the new music which follows; homages rather than quotations. Although challenging, and technically demanding up to D5, the emphasis is on lyricism. Suggested fingerings are provided for timbre changes and timbral trills, the only extended techniques called for. The fifth movement was a required piece for the 2002 Fernand Gillet Competition sponsored by the IDRS. References: Discography HHR 002 (CD) Nicolasa Kuster Reference IDRS Journal 23 (1995), p. 104. Date Range of Work 1990 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bassett: Metamorphoses Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.lesliebassett.com/ Discography United States Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Title Title of the film. Battle in the Virginia Hills Year Year of the film's release. 1912 Studio Studio responsible for production of film Kalem Film Setting Location(s) in which the film is set. Virginia Jerry Williamson Notes Notes taken from Jerry Williamson's Southern Mountaineers Filmography. During the course of a feud between the Tuckers and the Hoods, young Joe Hood shoots and wounds by mistake beautiful Nancy Tucker. These two eventually fall in love, are both renounced by their families, wed anyway. Character Types Descriptions of character types present in the film. Beautiful Mountain Woman Feud Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Battle in the Virginia Hills Subject The topic of the resource Appalachian Film https://facultyprojects.library.appstate.edu/files/original/fccad0155ab13f058aec5e58ae9a99f2.jpg 15ffd4dab11692732425066f5ca1d0e8 IMC Kit Call Number 973.73 N277ba Catalog Link <a href="http://wncln.wncln.org/record=b4806763~S2">Catalog Link</a> School Subject Social Studies US History Grade Level 4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Battles of the Civil War / National Geographic Subject The topic of the resource United States -- History -- Civil War, 1861-1865 -- Maps Type The nature or genre of the resource Map Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Baur, Jürg (1918-2010). Gender Male Work Title of the musical composition. Arabesken, Girlanden, Figuren: 6 Kleine Sätz. Wiesbaden, GER: Breitkopf & Hartel. Description This piece was composed in 1990. It is pitch-centric and quite tuneful, with many light and playful moments. The range ascends to written A4, and it is moderately challenging. Reference The Double Reed 16/1, p. 63. Date Range of Work 1990 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Baur: Arabesken Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://www.bach-cantatas.com/Lib/Baur-Jurg.htm contra German Germany Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Bavel, Zamir (b. 1929). Gender Male Work Title of the musical composition. Lament. Lawrence KS: Bocal Music. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description This rather conservative tonal piece was commissioned by Rodney Boyd, and composed in memory of bassoonist Sherman Walt, who was the principal bassoonist of the Boston Symphony for many years. The music is quite easy, with modest technical and range demands (to G4), as the music progresses from plaintive and mournful to playful and back again. The augmented second interval is very prominent, and there is an extended technique, pitch bending, both utilized to pay homage to Walt’s Jewish heritage. Date Range of Work 1990 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bavel: Lament Subject The topic of the resource Bassoon Canada United States Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Bazant, Jaromir (1926-2009). Gender Male Work Title of the musical composition. Sonata for Bassoon Solo, Op. 49. Prague: Cesky Hudebdi Fond. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 9 minutes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bazant: Sonata Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.musicbase.cz/composers/37-bazant-jaromir/ Czech Republic Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Beat, Janet (b. 1937). Gender Female Work Title of the musical composition. The Walls of My Dream. Portus Press. 1: …a city collapses screaming! 2: …women of golden eyes 3: …the walls of my dream Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 8.5 minutes Description This piece was commissioned by Lesley Wilson and premiered by her in in Glasgow in December 2017. The music is atonal, and moderately challenging because of the extended techniques required: vibrato manipulation, flutter tonguing, pitch bending, and multiphonics (with suggested fingerings provided). The music is inspired, according to the composer, by “Dream City,” a poem by Arturo Aurelio. Date Range of Work 2017 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beat: The Walls of My Dream. Subject The topic of the resource Bassoon United Kingdom Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bassoONLY: Unaccompanied Bassoon Music Resource Collection Creator An entity primarily responsible for making the resource Jon Beebe Description An account of the resource bassoONLY is a database devoted to music for unaccompanied bassoon. To use this resource, apply keywords at the top right. Keywords may be used to locate works using a wide variety of parameters, such as a particular composer and/or title, instrumentation (e.g. contrabassoon), gender, a country or nationality (e.g. Venezuela or Venezuelan), a duration (e.g. 6 minutes), a compositional style (e.g. avant-garde or jazz), range limit (e.g. C#5), difficulty level (e.g. moderately easy), extended techniques in general or one in particular (e.g. multiphonics or singing while playing), or a year of composition. The resource is incomplete, and additions and corrections are welcomed. Please contact Jon Beebe at beebejp@appstate.edu if you are able to offer assistance. The repertoire for unaccompanied bassoon is valuable for a number of reasons. Whether music is chosen for study or performance, the technical challenges are often formidable, bringing into play parameters such as texture and color that might be less salient in accompanied music. Just as an extended monologue is a supreme test for an actor, so too is the unaccompanied solo, of which a performer must have an intimate knowledge that transcends the superficial aspects in order to present a truly engaging performance. This can be especially challenging, given the diversity and complexity of modern musical techniques, languages, and styles. And finally, the better pieces seem to embody the intrinsic personae of one of the most idiosyncratic, challenging, and unique musical instruments. How the Difficulty Levels Are Applied to the Music The compositions on this site have been divided into five difficulty levels: Easy, Moderately Easy, Moderately Challenging, Challenging, and Very Challenging. While there is no absolute formula, six factors have been considered in determining an appropriate level for each piece: 1. top-most pitch and extent of high register usage 2. key signatures/changes or accidentals 3. clef 4. rhythmic/metric complexity 5. amount of conjunct vs. disjunct motion 6. the use of extended techniques. Music Resource A reference source for music research and performance practice. Composer Beckwith, John (b. 1927). Gender Male Work Title of the musical composition. Solo for Bassoon. Toronto: Canadian Music Centre. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description This moderately challenging piece was composed for George Zukerman in 2008. The music is atonal and cell-based, and is predominantly lyrical over the full range to C5. Date Range of Work 2008 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beckwith: Solo Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived https://www.musiccentre.ca/node/37279/showcase Canada