93 10 1573 https://facultyprojects.library.appstate.edu/files/original/4fd59ea03afd40a94dafde715a0ef352.jpg 2f20e19f2ccd24e3385469e04f362309 IMC Kit Call Number 372.7 M4267 Gr. 4 Catalog Link <a href="http://wncln.wncln.org/record=b5195103~S2">Catalog Link</a> Grade Level 4 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 Mathematics manipulatives: Grade 4 Subject The topic of the resource Mathematics -- Study and teaching (Elementary) Description An account of the resource 1 set mathematics manipulatives : foam, plastic, paper; col. ; in container 25 x 19 x 7 cm Type The nature or genre of the resource kit https://facultyprojects.library.appstate.edu/files/original/bc02e1e719de7c9d3c254cfdedb9cea3.jpg a0771ad6159b518762ac2df105300eaf IMC Kit Call Number 372.7 M4267 Gr. 5 Catalog Link <a href="http://wncln.wncln.org/record=b5195100~S2">Catalog Link</a> Grade Level 5 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 Mathematics manipulatives: Grade 5 Subject The topic of the resource Mathematics -- Study and teaching (Elementary) Description An account of the resource 1 set mathematics manipulatives : foam, plastic, paper; col. ; in container 29 x 18 x 13 cm Type The nature or genre of the resource kit https://facultyprojects.library.appstate.edu/files/original/5805bc7a501ee253e7a4a18e723d55ef.jpg 3a0cab6dc28a9a0d150329ab876d6142 IMC Kit Call Number 372.7 M4267 Gr. K Set 1 Catalog Link <a href="http://wncln.wncln.org/record=b5195089~S2">Catalog Link</a> Grade Level K 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 Mathematics manipulatives: Grade K Subject The topic of the resource Mathematics -- Study and teaching (Primary) Description An account of the resource 1 set mathematics manipulatives : foam, plastic; col. ; in container 29 x 18 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 McConochie, Thomas. Gender Male Work Title of the musical composition. Solo Contrabassoon Jazz 1 & 2, Op. 128, Nos. 1 & 2 (TWV 84 & 85). Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description These tonal jazz informed selections are moderately easy, although the second does ascend to written C5. Extended techniques are called for, but are limited to flutter-tonguing and glissandi. Date Range of Work 2022 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 McConochie: Solo Contrabassoon Jazz 1 & 2 Subject The topic of the resource Contrabassoon 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 McGregor, Gemma. Gender Female Work Title of the musical composition. Strange Fish. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2.5 minutes Description The music is atonal and moderately challenging, and spans the full range. Discography Vox Regis VXR0002 Lesley Wilson 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 McGregor: Strange Fish. Subject The topic of the resource Bassoon Scotland 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 McIntire, David. Gender Male Work Title of the musical composition. Each New Departure. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 8.5 minutes Description This challenging atonal piece features three motives, one each for the lower, middle, and upper registers, and develops them through their interplay. The upper register is employed up to Eb5. Discography Present Sounds PS0401 (CD) Ryan Hare 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 McIntire: Each New Departure Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://composerscircle.com/david-d-mcintire/ Discography 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 McIntosh, Diana (b. 1937). Gender Female Work Title of the musical composition. “Porini, Porini, Porini!” Toronto: Canadian Music Centre. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 5 minutes Description This challenging and effective piece was composed in 2006 and premiered in Winnipeg on April 1, 2007. Inspired by a visit to southern Kenya, the music uses motives based on local speech and animal-related patterns. The music is somewhat pitch-centric and predominantly angular over the full range to D#5. Numerous extended techniques (multiphonics with fingerings, vibrato manipulation, singing while playing, glissandi, flutter tonguing, tremolos, and foot stomps) are integrated into this composition Discography Centrediscs 15810 (CD) Vincent Ellin Date Range of Work 2006 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 McIntosh: “Porini, Porini, Porini!” Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://dianamcintosh.com/ Canada Canadian 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 McKinley, Elliott Miles. Gender Male Work Title of the musical composition. Nocturne. Unpublished. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description This piece was composed in 1991 for Maria Anne Schreffler-Isaak, and premiered by her in Boston of that year. The music is lyrically expressive and pitch centric, and makes use of the middle and upper registers, from D3 up to E5. It is technically moderately challenging, in spite of the range. 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 McKinley: Nocturne Subject The topic of the resource Bassoon Source A related resource from which the described resource is derived http://www.elliottmilesmckinley.com/ 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 Means, David (b. 1947). Gender Male Work Title of the musical composition. Tablatures IV. Unpublished. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 4 minutes Description This piece, for any woodwind instrument, was composed in Urbana, IL in 1974 and premiered by flutist Regina Zakrajsek. Extended techniques include wind sounds, singing while playing, flutter-tonguing, pitch- bending, multiphonics, glissandi, and indeterminacy. The piece employs tablature notation indicating “what is to be done” on the instrument, rather than “what is to be played.” The physical parameters of playing, such as finger placement, lip tension, and air pressure, determine the network of sounds that are to be produced. Instructions are very thorough. 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 Means: Tablatures IV Subject The topic of the resource Woodwind Source A related resource from which the described resource is derived http://www.newsense-intermedium.com/NI/6XFEST99/Means/dm.html United States https://facultyprojects.library.appstate.edu/files/original/8f7559d447d2a352f1b9ec38f8d67e90.jpg a38066ed09412d9c0d0d9f65c7bc1298 IMC Kit Call Number 530.8 M4842 Catalog Link <a href="http://wncln.wncln.org/record=b5195294~S2">Catalog Link</a> Grade Level 1 2 3 4 5 6 7 8 School Subject Science 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 Measurement Subject The topic of the resource Measurement Mathematics -- Study and teaching (Elementary) Type The nature or genre of the resource Kit