This monograph presents a formal examination of Jennifer Higdon’s Oboe Concerto in its various forms. Jennifer Higdon has garnered international success, yet few in-depth studies of her music exist. In this document, personal accounts from commissioners illustrate the unusual commission of Oboe Concerto. Likewise, the composer, a conductor, and soloists for premiere performances highlight unique aspects of the concerto, particularly its unusual form, multiple versions, and the potential challenges in preparing the work. Higdon’s concerto showcases the lyrical capabilities of the oboe, with an emphasis on melody and sustained tone. The transformation of the concerto illustrates Higdon’s skills of self-promotion, as she is willing to adapt her works to meet new demands from commissioners and audiences alike. Oboe Concerto is a strong example of the composer’s distinctive compositional style, which is detailed in this monograph.
","abstract_html":"<p>This monograph presents a formal examination of Jennifer Higdon’s Oboe Concerto in its various forms. Jennifer Higdon has garnered international success, yet few in-depth studies of her music exist. In this document, personal accounts from commissioners illustrate the unusual commission of Oboe Concerto. Likewise, the composer, a conductor, and soloists for premiere performances highlight unique aspects of the concerto, particularly its unusual form, multiple versions, and the potential challenges in preparing the work. Higdon’s concerto showcases the lyrical capabilities of the oboe, with an emphasis on melody and sustained tone. The transformation of the concerto illustrates Higdon’s skills of self-promotion, as she is willing to adapt her works to meet new demands from commissioners and audiences alike. Oboe Concerto is a strong example of the composer’s distinctive compositional style, which is detailed in this monograph.</p>","abstract_has_math":false,"creators":["Crews, Janice Elizabeth"],"institution":"Music","degree_name":"Doctor of Musical Arts (DMA)","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2010,"date_issued":"2010-01-01T08:00:00Z","date_published":"2010-01-01T08:00:00Z","updated_at":"2026-07-24T02:58:25Z","subjects":["oboe"],"languages":[],"rights":["unrestricted","Release the entire work immediately for access worldwide."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-06032010-140059","https://repository.lsu.edu/gradschool_dissertations/828"],"render_values":[{"text":"etd-06032010-140059","href":null,"code":true},{"text":"https://repository.lsu.edu/gradschool_dissertations/828","href":"https://repository.lsu.edu/gradschool_dissertations/828","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.31390/gradschool_dissertations.828","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Crews, Janice Elizabeth"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2010-05-17"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2022-05-12T23:10:07Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Musical Arts (DMA)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Music"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["oboe"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["unrestricted","Release the entire work immediately for access worldwide."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-06032010-140059","10.31390/gradschool_dissertations.828","https://repository.lsu.edu/gradschool_dissertations/828"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This monograph presents a formal examination of Jennifer Higdon’s Oboe Concerto in its various forms. Jennifer Higdon has garnered international success, yet few in-depth studies of her music exist. In this document, personal accounts from commissioners illustrate the unusual commission of Oboe Concerto. Likewise, the composer, a conductor, and soloists for premiere performances highlight unique aspects of the concerto, particularly its unusual form, multiple versions, and the potential challenges in preparing the work. Higdon’s concerto showcases the lyrical capabilities of the oboe, with an emphasis on melody and sustained tone. The transformation of the concerto illustrates Higdon’s skills of self-promotion, as she is willing to adapt her works to meet new demands from commissioners and audiences alike. Oboe Concerto is a strong example of the composer’s distinctive compositional style, which is detailed in this monograph.
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