60 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 Grant, Stewart (b. 1948). Gender Male Work Title of the musical composition. Kali ma. Toronto: Canadian Music Centre. Description Composed in 1996, for either contra or bassoon. Date Range of Work 1996 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 Grant: Kali ma Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived https://www.musiccentre.ca/node/37410/showcase Canada Canadian contra 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 Grin, Richard (b. 1966). Gender Male Work Title of the musical composition. Anitanos for Solo Doublebassoon. De Haske. Discography R.Y.M. 93-10 (CD) Dirk Meijer 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 Grin: Anitanos Subject The topic of the resource Contrabassoon contra Discography 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 Hansell, Philip (b. 1962). Gender Male Work Title of the musical composition. Title: So Low for Solo Contrabassoon. Laggan Bridge, UK: Phylloscopus. 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 Hansell: So Low Subject The topic of the resource Contrabassoon contra 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 Hare, Ryan (b. 1970). Gender Male Work Title of the musical composition. Glaurung. Tallevast, FL: TrevCo. Description This piece was composed in 2006 for tuba, and revised in 2013 for contra. Glaurung is a dragon character in J. R. R. Tolkien’s The Silmarillion; the music is essentially a paean to “the association of dragons from myth into music.” The somewhat pitch-centric music is challenging, covering nearly the full range of the contra up to written Ab4. The middle section of the ternary form requires very quick and agile articulation, no mean feat on the contra. Reference The Double Reed 36/4, p. 160. Date Range of Work 2006, 2013 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 Hare: Glaurung Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://www.ryanhare.com/html/bio.html contra 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 Harris, Sebastian. Gender Male Work Title of the musical composition. Dust. Sydney: Australian Music Centre. Description Comments: This piece was composed in 2004, and first performed by the composer at the Grant Street Theatre in Victoria on November 19 of that year. Date Range of Work 2004 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 Harris: Dust Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://www.australianmusiccentre.com.au/artist/harris-sebastian Australia Australian contra 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 Havelaar, Rocco (b. 1972). Gender Male Work Title of the musical composition. Some Long Breath Could Softly Bring the Fool in Me to Peace. Self-published. I Slow II Fast Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 10 minutes Description This piece was composed in 1998. It is marginally pitch centric and primarily lyrical, although it is also technically challenging. The full range up to written Bb4 is employed, and considerable time is spent in the upper register. Reference The Double Reed 26/3 p. 124. Date Range of Work 1998 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 Havelaar: Some Long Breath Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://www.pytheasmusic.org/havelaar.html contra Netherlands 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 Kurtag, György (b. 1926). Gender Male Work Title of the musical composition. Schatten. Description Premiered in 2001 in Paris by Pascal Gallois. Reference pascalgallois.com Date Range of Work 2001 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 Kurtag: Schatten Subject The topic of the resource Contrabassoon contra Hungarian Hungary 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 Leichtling, Alan (b. 1947). Gender Male Work Title of the musical composition. Work: Serenade-Etude. New York: Seesaw. 1. Prelude 2. Scherzo 3. Interlude 4. Burlesque 5. Finale Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 14 minutes Description This piece was composed in 1965 for Martin Verdrager, and first performed by him in September of that year, at the Juilliard School. It was revised in 1972. The music is atonal and emphasizes the lyrical qualities of the instrument. It is moderately challenging, and the upper limit is only written Eb4. Date Range of Work 1965, 1972 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 Leichtling: Serenade-Etude Subject The topic of the resource Contrabassoon contra 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 Lerstad, Terje B. (b. 1955). Gender Male Work Title of the musical composition. Polyphemos Song, Op. 35. Fort Lauderdale, FL: Miami Music Editions. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description Composed in 1982 as a wedding present for Robert Rønnes, this piece emphasizes the lyrical aspects of the contra. It is atonal, and includes some extended techniques: harmonics, multiphonics, and tongue slaps, and employs the full range up to written D5. As long as a prospective player has a developed upper register, the music is only moderately challenging. Date Range of Work 1982 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 Lerstad: Polyphemos Song Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://www.listento.no/mic.nsf/doc/art2002100811034039644312 contra Norway Norwegian 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 Levitt, Vladimir (b. 1934). Gender Male Work Title of the musical composition. Work: Music Lecture in Psychiatric Clinic. Stockholm: Swedish Music Information Centre. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description This moderately challenging piece was composed in 2013 in Stockholm. It is pitch-centric and relatively uneventful, employing a single motive that is varied throughout. As expected for contra, much of the music is centered in the lower registers, although written B4 is called for. Date Range of Work 2013 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 Levitt: Music Lecture Subject The topic of the resource Contrabassoon Source A related resource from which the described resource is derived http://www.israelcomposers.org/Members.aspx?lang=English&letter=L&id=203 contra Georgia Georgian Israel