Bassoon Playing in Perspective: Character and Performance Practice from 1800 to 1850

Bassoon Playing in Perspective is a theoretical study of bassoon performance practice in the first half of the nineteenth century. It combines research on historical written sources with practical experimentation on period instruments. As a result, the conclusions derived from the investigation have ample and immediate practical applications. This research seeks to be a new approach to understanding bassoon performance practice in this historical period and in its relationship with the present-day practice of nineteenth century repertoire. Moreover, it gives some hints that may be used to understand performance practice in a wider context

CONTENIDO

Acknowledgments
Introduction

I. Aim of the research
II. Hypothesis
III. Theoretical contribution
IV. Methods
V. Thesis structure

1.History and State of the Art
1.1. Rethinking performance practice literature
1.2. Performance practice research on the first half of the 19th century
1.2.1. Constant changes during the 19th century
1.2.2. Diversity of European musical traditions
1.2.3. The problem of presentism
1.3. Performance through the instrument: Bassoon literature

2.Sources for Performance Practice Research
2.1. Methods and treatises
2.1.1. Interrelations and influences of bassoon tutors
2.1.2. Main bassoon tutors
2.2. Basson and Fagott: Technical modifications as a process
2.3. The reed: Organological or performative component?

3.Technical Issues of Bassoon Performance Practice
3.1 Sound and registers
3.2. Breathing
3.3. Embouchure

4.Character as an Interactive Relationship between Performer, Composer & Audience
4.1. Character in performance
4.2. Character of instruments
4.3. Bassoon?s character: The creation of its identity

5.Tempo
5.1. Character in tempo
5.2. Tempo terms
5.3. Tempo flexibility

6.Articulation
6.1. Articulation attacks
6.2. Length problem
6.3. Articulation from a woodwind perspective
6.4. Character in articulation
6.5. Accentuation
6.6. Particular accents

7.Ornamentation
7.1. Character in ornamentation
7.2. Grace notes
7.2.1. Graces
7.2.2. Turns
7.3 Portamento
7.3.1. Technical performance of portamento
7.3.2. Use and types of portamento
7.4. The trill
7.5. Vibrato

8.Performance
8.1. Charac ter and belle performance
8.2. Dynamics
8.3. Repertoire
8.4. Repertoire performance

Conclusion
Bibliography