David A. Ledet, Professor Emeritus of Music at the University of Georgia, is co-author of The Art of Oboe Playing.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
David A. Ledet, Professor Emeritus of Music at the University of Georgia, is co-author of The Art of Oboe Playing.
Inhaltsangabe
Contents List of Tables Foreword by Richard Killmer Acknowledgments Introduction Part I: Tone Production 1. Respiration The Muscles Involved in Respiration The Mechanics of Respiration Inspiration Expiration The Open Throat The Effect of Correct Respiration and the Open Throat on Timbre Embouchure and ReedsHow to Teach Correct Respiration 2. Articulation Articulation Related to Timbre 3. The Embouchure The Functions of the Embouchure The Effect of Embouchure on Timbre 4. The Instrument Historical Background The Acoustics of the Oboe Timbre 5. The Acoustics of the Room 6. The Listener Sociological Acceptance of Styles of Playing Part II: Oboe Reeds 7. Reeds of Individual Oboists Australia (Tancibudek Woolley) Austria (Kamesch Kautzky Lardrot Raab) Czechoslovakia (Duchon Hanták) Denmark (Wolsing) England (Baker Brierly Craxton Graeme Jones Lord MacDonagh Newbury Rothwell Sutcliffe Tait Wickens) Finland (Sipila) France (Bajeux Bleuzet Chevalet Claro) Germany (Eggers Fischer Kalmus Schlövogt Töttcher) Holland (Houttuin Pels Stotijn) Italy (Riedmiller de Sanctis Tomassini) New Zealand (Booth) Russia (Anonymous Petrov) Switzerland (Parolari) United States (Angelucci Arner Barthel Bloom Bowman de Busscher Caldwell Covington Dandois Duvoir Gassman Gatwood Gillet H. Gomberg R. Gomberg Harrison Kirchner Krilov Lifschey Mack Mariotti Memoli Mueller Rathbun Remington Renzi Rizzo Robinson Roseman Russell Schoneberg Shulman Sprenkle Stannard Still Tabuteau Tustin de Vergie Weaver Woodhams) 8. A Delineation of Reed Styles The French-Style Reed The American-Style Reed The English-Style Reed The Dutch-Style Reed The Viennese-Style Reed A Borderline Style (German) 9. Summary and Conclusions Notes Bibliography
Contents List of Tables Foreword by Richard Killmer Acknowledgments Introduction Part I: Tone Production 1. Respiration The Muscles Involved in Respiration The Mechanics of Respiration Inspiration Expiration The Open Throat The Effect of Correct Respiration and the Open Throat on Timbre Embouchure and ReedsHow to Teach Correct Respiration 2. Articulation Articulation Related to Timbre 3. The Embouchure The Functions of the Embouchure The Effect of Embouchure on Timbre 4. The Instrument Historical Background The Acoustics of the Oboe Timbre 5. The Acoustics of the Room 6. The Listener Sociological Acceptance of Styles of Playing Part II: Oboe Reeds 7. Reeds of Individual Oboists Australia (Tancibudek Woolley) Austria (Kamesch Kautzky Lardrot Raab) Czechoslovakia (Duchon Hanták) Denmark (Wolsing) England (Baker Brierly Craxton Graeme Jones Lord MacDonagh Newbury Rothwell Sutcliffe Tait Wickens) Finland (Sipila) France (Bajeux Bleuzet Chevalet Claro) Germany (Eggers Fischer Kalmus Schlövogt Töttcher) Holland (Houttuin Pels Stotijn) Italy (Riedmiller de Sanctis Tomassini) New Zealand (Booth) Russia (Anonymous Petrov) Switzerland (Parolari) United States (Angelucci Arner Barthel Bloom Bowman de Busscher Caldwell Covington Dandois Duvoir Gassman Gatwood Gillet H. Gomberg R. Gomberg Harrison Kirchner Krilov Lifschey Mack Mariotti Memoli Mueller Rathbun Remington Renzi Rizzo Robinson Roseman Russell Schoneberg Shulman Sprenkle Stannard Still Tabuteau Tustin de Vergie Weaver Woodhams) 8. A Delineation of Reed Styles The French-Style Reed The American-Style Reed The English-Style Reed The Dutch-Style Reed The Viennese-Style Reed A Borderline Style (German) 9. Summary and Conclusions Notes Bibliography
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