After decades of experimentation, musicians have begun to utilize a strikingly colorful palette of sounds on woodwind instruments. Flute, clarinet, and saxophone players both in jazz and in contemporary settings, regularly use sounds that were unheard of in the middle of the twentieth century. Oboists, forever obsessing over reeds and the demands of their finicky instrument, have lagged somewhat behind their more adventurous colleagues. Oboe Unbound seeks to open up the tradition-bound assumptions of that instrument's capabilities.
Libby Van Cleve is Adjunct Oboe Professor at Wesleyan University and Connecticut College and is Associate Director of Oral History, American Music at Yale University.
Part 1 Acknowledgments Chapter 2 1 Introduction Chapter 3 2 Monophonic Techniques Chapter 4 3 Multiphonic Techniques Chapter 5 4 Other Resources Chapter 6 5 Electronics for the Oboe: A Primer Part 7 Appendix 1: Standard Fingering Chart for the Oboe Part 8 Appendix 2: Apocrypha Score Part 9 Appendix 3: CD Contents Part 10 Selected Music Bibliography Part 11 Selected Literature Bibliography Part 12 Selected Discography Part 13 Index Part 14 About the Author Part 15 Diagram of Symbols and Oboe Keys