The bassoon in Australia : repertoire and contemporary relevance

Abstract

This project attempts to assess and predict the future of the bassoon in Australia. This must be contextualised within the future of classical music in general. Classical music has a long history, its antecedents stemming from the liturgical and secular music of the Medieval and Renaissance periods. The Classical and Romantic periods of the eighteenth and nineteenth centuries established what some regard as a set or standard identity for classical music; however, various forces combine to destabilise this standard and drive the classical genre to evolve in order to maintain relevance. In the past several decades, scholars, reviewers and those in the industry have referred to a crisis in classical music. This crisis is the result of the movement of attention and education away from classical and toward popular music; the structure of the music recording marketing industry which has, over an extensive period, virtually prohibited the entry of obscure or innovative music into mass markets; and the perception that the enjoyment of classical music is somehow a specialised, possibly elitist skill and one that is not suited or accessible to the mass audience. Given that much of the long term viability of an art form depends on its success in the market and its ability to connect with audiences, overcoming these barriers to the accessibly and enjoyment of classical music is regarded as key to its very survival. However, with the current changes in technology and marketing structures, it is possible for the current crisis to be regarded as a significant opportunity for further growth of the classical repertoire and the market for it. In fact the long term viability and survival of classical music, and therefore of the bassoon, may depend on the ability of those in the field to understand the current challenges and opportunities. By adopting mixed methodologies which include an analysis of literature, a pedagogical survey involving aspects of practice-based research and empirical research, the thesis examines the existing Australian bassoon repertoire and the views of those deeply involved in playing, composing for, and promoting the bassoon on the Australian music scene. Following qualitative interviews with bassoonists, composers and classical music marketers, it is observed that the bassoon has several special challenges. It is an instrument which has sometimes been overlooked or poorly recognised, and whose unique sounds and abilities have often been used in a comic way, resulting in its stereotyping as the 'clown of the orchestra'. It presents a physical challenge because of its weight and dimensions, it is expensive and the repertoire that currently exists in Australia is limited, a fact demonstrated by the pedagogical survey. The thesis seeks ways of resolving or working with these challenges. However, the potential of the bassoon to build a relevant contemporary identity both through traditional and extended techniques used in composition and the extension of repertoire is profound. Coupled with and extending the pedagogical survey was the commissioning and recording of a CD sampler of new and previously unrecorded contemporary classical bassoon music, also involving practice-led research. The pieces recorded on the CD are an attempt to respond to the strengths and weaknesses identified through other research in the thesis in relation to compositional style and variety. It also serves as a means of seeking responses from marketers of classical CDs. The production of the CD demonstrates what can be accomplished when composers are commissioned to write new pieces, how these add to the repertoire and how such repertoire might be marketed. It also requires an active ideological, musical and spoken dialogue between composers and performers presenting new, relevant repertoire as well as pieces not previously recorded. In doing so, the CD represents one of several ways in which the bassoon can continue to be relevant to the contemporary Australian audience.

Date of Award	2012
Original language	English