106 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 Burdo, Eugene. Gender Male Work Title of the musical composition. Solo No. 2. Description Doubtful unaccompanied work. Solo No. 2 by Bourdeau? Discography Melodiya C10-16135/36 (LP) Andris Arnicans 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 Burdo: Solo No. 2 Subject The topic of the resource Bassoon Discography France French 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 Bruns, Victor (1904-1996). Gender Male Work Title of the musical composition. Vier Virtuose Stücke, Op. 93. Berlin: Werner Feja. I Andante tranquillo II Allegro scherzando III Andante sostenuto IV Allegro giocoso Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 9 minutes Description These pieces were composed in 1991, and are “intended for concert, competition, and studying purposes.” Consequently, they are technically challenging, but not extremely so. The upward limit is D5. Like Bruns’ numerous other pieces for bassoon, these are pitch-centric (but less so than his earlier works) and rather angular. The faster movements are witty and jocular, while the slower ones present challenges in defining and projecting the gestures in a convincing expressive manner. Reference IDRS Journal 23 (1995), p. 103. Date Range of Work 1991 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 Bruns: Vier Virtuose Stücke Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.victorbruns.de/ German Germany Russia Russian 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 Brun, Herbert (1918-2000). Gender Male Work Title of the musical composition. Sonatina. Baltimore: Sonic Art Editions. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description This is a three movement atonal serially organized work. While technically challenging, the lyrical natures of the lines allow the performer ready access to the musical content. The range extends to C5. Discography EMF EM111 (CD) Charles Lipp 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 Brun: Sonatina Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.herbertbrun.org/BrunBio.html Discography Germany 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 Brumby, Colin (b. 1933). Gender Male Work Title of the musical composition. Capriccio (Variations on “Nunn Komm der Heiden Heiland”). The Rocks, NSW AUS: Australian Music Center (Wirripang). Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description Commissioned by the 1993 Brisbane Biennial Australian Woodwind Competition, this set of six variations on the well known “Saviour of the Heathen, Come” is very traditional and conservatively tonal. The variations become increasingly florid while never straying far from the original melody, but never become more than moderately challenging. There is also a version for saxophone. Discography Jade Records JADCD 1058 Ann Hoare Date Range of Work 1993 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 Brumby: Capriccio Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.australianmusiccentre.com.au/artist/brumby-colin Australia Australian 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 Brophy, Gerard. Gender Male Work Title of the musical composition. Devdas. Sydney: Australian Music Centre. Description This piece was composed for Mark Gaydon in 2014. The music is pitch-centric. Date Range of Work 2014 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 Brophy: Devdas Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.australianmusiccentre.com.au/artist/brophy-gerard Australia Australian 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 Brons, Carel (1931-1983). Gender Male Work Title of the musical composition. Monolog IV. Rijswijk, NETH: Donemus. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description Composed in 1968 and revised 1974, this atonal serially organized work is quite angular and austere. It is through-composed, with considerable textural variety but little development of content. It is challenging, and employs the full range of the bassoon up to Eb5. Discography Fylkingen Records FYLP 1011 (LP) Knut Sönstevold Date Range of Work 1968, 1974 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 Brons: Monolog IV Subject The topic of the resource Bassoon Discography 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 Broemel, Robert. Gender Male Work Title of the musical composition. Buddha. Tallevast, FL: TrevCo. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2.5 minutes Description Based on a poem by Rainer Maria Rilke, the melody is a setting of the poem itself, the text being present underneath the music as in a song. The music is pitch centric, lyrical and moderately challenging, although the range does extend to Eb5. 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 Broemel: Buddha Subject The topic of the resource Bassoon 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 Broemel, Robert. Gender Male Work Title of the musical composition. Herbsttag – Autumn Day. Tallevast, FL: TrevCo. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description Based on a poem by Rainer Maria Rilke, the melody is a setting of the poem itself, the text being present underneath the music as in a song. The music is pitch-centric and moderately challenging, with a mix of lyrical and florid elements. There are frequent rapid arpeggiations in the manner of imitated string multiple stops. The range extends to D5. Reference The Double Reed 37/4, p. 150. 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 Broemel: Herbsttag Subject The topic of the resource Bassoon 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 Brings, Allen (b. 1934). Gender Male Work Title of the musical composition. Work: Couplets. New York: Seesaw. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3.5 minutes Date Range of Work 1986 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 Brings: Couplets Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://library.newmusicusa.org/AllenBrings 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 Brings, Allen (b. 1934). Gender Male Work Title of the musical composition. Dithyramb. New York: Seesaw, 1975. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 3 minutes Description This piece was composed in 1974, and is dedicated “to the Glory of God.” Webster’s New Collegiate Dictionary defines “dithyramb” as an “irregular short poem or chant in a wild, inspired strain.” With its rapid alternation between two basic atonal ideas, as well as various tempi, dynamics, and moods, this piece fits its title well. It is not technically challenging, although it does ascend to C#5. Date Range of Work 1974 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 Brings: Dithyramb Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://library.newmusicusa.org/AllenBrings United States