| Contents |
Part I: Tone production. 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 reeds ; How to teach correct respiration -- Articulation. Articulation related to timbre -- The embouchure. The functions of the embouchure ; The effect of embouchure on timbre -- The instrument. Historical background ; The acoustics of the oboe ; Timbre -- The acoustics of the room -- The listener. Sociological acceptance of styles of playing -- Part II: Oboe reeds. Reeds of individual oboists. Australia (Tancibudek, Woolley) ; Austria (Kamesch, Kautzky, Lardrot, Raab) ; Czechoslovakia (Duchon, Hantak) ; 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, Schlovogt, Tottcher) ; Holland (Houttuin, Pels, Stotijn) ; Italy (Riedmiller, de Sanctis, Tomassini) ; New Zealand (Booth) ; Russia (Anonymous, Petrov) ; Switzerland (Parolari) ; United States (Angelucci, Arner, Barthel, Bloom, 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) -- 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) -- Summary and conclusions. |
