104 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 Olthius, Kees (1940-2019). Gender Male Work Title of the musical composition. Divertimento. Rijswijk, NETH: Donemus. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 6 minutes Description Composed in 2009, this is a moderately easy composition, that stays primarily in the middle register, ascending only up to G4. The music is marginally pitch-centric. Date Range of Work 2009 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 Olthius: Divertimento. Subject The topic of the resource Bassoon Dutch 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 Omiccioli, Nicholas (b. 1982). Gender Male Work Title of the musical composition. Insights No. 1. Tallevast, FL: TrevCo. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 8 minutes Description Composed in 2009 for James Keel Williams, this is a challenging atonal work with numerous extended techniques, including quarter tones, timbral trills, multiphonics, and some improvisation. Suggested fingerings are provided. The music is often very motivic, with a mix of lyricism and impressive technical passages. The full range is used, up to Eb5. Date Range of Work 2009 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 Omiccioli: Insights No. 1 Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived https://nicholasomiccioli.com/ United States https://facultyprojects.library.appstate.edu/files/original/5e89651d93144327fce3c04e7c905333.tif 11e184625261789804f64ef6ddb7dd69 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 One of the first Advanced Practice nursing master's programs in the country at Duke University in the 1950s, led by nurse faculty member Thelma Ingles, Dean Ruby Wilson and Physician Eugene Stead Creator An entity primarily responsible for making the resource Phoebe Pollitt Date A point or period of time associated with an event in the lifecycle of the resource 1950s 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 North Carolina Nursing History Subject The topic of the resource Nursing history in North Carolina Creator An entity primarily responsible for making the resource Dr. Phoebe Pollitt Source A related resource from which the described resource is derived North Carolina Nursing History website http://nursinghistory.appstate.edu/ Date A point or period of time associated with an event in the lifecycle of the resource March 3, 2015 Contributor An entity responsible for making contributions to the resource Dr. Phoebe Pollitt Andrea A. Leonard Shelby N. Swansinger Language A language of the resource English Description An account of the resource Please click twice for full image 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 One of the first Advanced Practice Nursing master's programs in the country at Duke University in the 1950s, led by nurse faculty member Thelma Ingles, Dean Ruby Wilson and Physician Eugene Stead Creator An entity primarily responsible for making the resource Phoebe Pollitt Date A point or period of time associated with an event in the lifecycle of the resource 1950s https://facultyprojects.library.appstate.edu/files/original/be027301784d452fa53ecb6d8f8544fb.jpg 2425b89b8aae9cbb8c3426176f457b0c IMC Kit Call Number 428.1 O62 Puzzle Catalog Link <a href="http://wncln.wncln.org/record=b2631221~S2">Catalog Link</a> Grade Level K 1 2 School Subject English Language 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 Opposites readiness puzzles Subject The topic of the resource Puzzles English language -- Synonyms and antonyms Type The nature or genre of the resource game 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 Organn, Rob (1895- ). Gender Male Work Title of the musical composition. Fantasia. Rebo. Reference IDRS Journal 3, p. 12. Date Range of Work 1960 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 Organn: Fantasia Subject The topic of the resource Bassoon 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 Oromszegi, Otto (b. 1930). Gender Male Work Title of the musical composition. Variations & Imitations. Oude Haske, NETH: De Haske. Description This music dates from 1992 and is based on Hungarian folksongs. Date Range of Work 1992 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 Oromszegi: Variations & Imitations Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.idrs.org/resources/whoswho/browserecord.php?-action=browse&-recid=12481 Hungary Hungrarian https://facultyprojects.library.appstate.edu/files/original/756a2eaad3abedf56764dbc7b20be726.jpg 1b111829c1eec7ccd0585d795f88a882 IMC Kit Call Number 92 W947ga Big Book Catalog Link <a href="http://wncln.wncln.org/record=b2899297~S2">Catalog Link</a> School Subject History US History Grade Level 3 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 Orville and Wilbur Wright Subject The topic of the resource Aeronautics -- Biography Big books Creator An entity primarily responsible for making the resource Gaines, Ann Type The nature or genre of the resource Big book 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 Osborne, Willson (1906-1979). Gender Male Work Title of the musical composition. Rhapsody. New York: Peters. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description Perhaps the best-known unaccompanied bassoon piece, the Rhapsody was composed in Philadelphia in 1952 and dedicated to Sol Schoenbach. Originally titled Study for Bassoon, the work was written and recorded for broadcast by WNYC Radio in New York in February 1953. This moderately challenging piece is primarily lyrical, but often with daunting large descending slurred leaps. The music is pitch-centric and conservative, often using the Phrygian mode. The full range of the bassoon is used up to Bbb4. The piece was required for the 1983 Fernand Gillet Young Artist Performance Competition, sponsored by the IDRS. Discography Crystal CD 347 (CD) David DeBolt Ravenna RAV 761 (LP) Arthur Grossman ACA Digital 20045 (CD) Jeff Keesecker Music Alliance MA 9712834 (CD) Akio Koyama Cala CACD 0515 (CD) Judith LeClair Golden Crest CRS 4217 (LP) James McKay ALM AL 7002 (LP) Koji Okazaki MSR Classics MS 1734 (CD) Scott Pool Coronet 1294 (LP) Leonard Sharrow Reference IDRS Journal 11, pp. 10-13. Date Range of Work 1952 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 Osborne: Rhapsody Subject The topic of the resource Bassoon Discography United States https://facultyprojects.library.appstate.edu/files/original/cb062de718c905ce9531e3fc5d562f85.jpg 2dd4234f0271ce1ee91a835fb9d429f9 IMC Kit Call Number 372.47 O94 Game Catalog Link <a href="http://wncln.wncln.org/record=b4775048~S2">Catalog Link</a> Grade Level 4 5 6 School Subject English Language Reading 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 Outlast Subject The topic of the resource Reading comprehension Reading (Elementary) -- Audio-visual aids Description An account of the resource "A reading for information game." Targets standards in these areas: recalling facts and details, understanding and analyzing text, reading for meaning. For 2 to 4 players Type The nature or genre of the resource game https://facultyprojects.library.appstate.edu/files/original/23185d224a88b9b1566dbbbadc1b02fd.jpg b35ec319cc3cb99ae8d9bd506d0750c7 IMC Kit Call Number 372.69044 S724ou Game Catalog Link <a href="http://wncln.wncln.org/record=b2654109~S2">Catalog Link</a> Grade Level PK K 1 School Subject Early Childhood Listening 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 Outside sounds Subject The topic of the resource Board games Listening -- Study and teaching (Early childhood) -- Audio-visual aids Description An account of the resource "When a player hears a sound that is produced by one of the pictures on the game board, a token should be placed on that picture. Objective: The first player to have placed a token on all 8 of the game board pictures is the winner."--Box Type The nature or genre of the resource game