Abstract:
This dissertation offers a detailed analysis of two works by Gordon Jacob: The Concerto for Bassoon and Strings (1947) and the Partita for Solo Bassoon (1970). In the first chapter, I discuss pertinent information about the change in system from French to German bassoons and how this relates to Jacob’s compositional techniques and the performance of these works. The Concerto is analyzed with emphasis on the use of the (016) and (027) pitch-class sets, demonstrating how Jacob’s balancing of these sets contributes to the aural accessibility of this work. In the analysis of the Partita, I research how Jacob exploits melodic patterns and classical forms in order to create five balanced and somewhat symmetrical movements. Performance suggestions based on the analysis are also given in order to aid performers in making more informed musical decisions. In sum, this study explores the ways in which Jacob manipulates patterns within his music and how that may increase listener accessibility.
