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Tah-Keh eller Dö-Gö?

Hamström, Tobias LU (2025) MUUK03 20251
Malmö Academy of Music
Abstract
This work aims to present differences in various ways of learning double-tonguing on the bassoon, to try the presented methods, and to discuss and reflect in order to determine which of the presented methods is the best regarding evenness, flexibility, and suitability in a musical context. All of the methods have some common similarities but also defining differences. The conclusion is that the Mannheimer- and Formáček/Tvrdý-methods are the most successful in their respective aspects, except regarding evenness and equality between starting of notes; where the best result is instead achieved by combining elements from all the presented methods.
Abstract (Swedish)
Detta arbete syftar till att redogöra för skillnader i olika sätt att öva in dubbeltunga vid fagottspel, att testa dessa metoder, och att bedöma och reflektera kring vilken av metoderna som är den lämpligaste avseende jämnhet, flexibilitet och lämplighet i förhållande till musikalisk kontext. Metoderna har flera inbördes likheter men också vissa avgörande skillnader. I resultatdelen konstateras att Mannheimer- och Formáček-Tvrdý-metoderna, som även beskrivs närmare i detta arbete, är de mest framgångsrika inom sina respektive frågeställningar, utom vad gäller jämn- och likhet, där det istället är element från flera övningsmetoder som tillsammans bidrar till det bästa resultatet.
Please use this url to cite or link to this publication:
author
Hamström, Tobias LU
supervisor
organization
alternative title
En studie i dubbeltunga
course
MUUK03 20251
year
type
M2 - Bachelor Degree
subject
keywords
fagott, dubbeltunga
language
Swedish
additional info
Reflekterande del, 4 hp, av självständigt arbete (examensarbete), 15 hp,
för uppnående av konstnärlig kandidatexamen i musik, symfoniorkesterprogrammet, inriktning fagott.
id
9193541
date added to LUP
2025-09-11 15:49:56
date last changed
2025-09-11 15:49:56
@misc{9193541,
  abstract     = {{This work aims to present differences in various ways of learning double-tonguing on the bassoon, to try the presented methods, and to discuss and reflect in order to determine which of the presented methods is the best regarding evenness, flexibility, and suitability in a musical context. All of the methods have some common similarities but also defining differences. The conclusion is that the Mannheimer- and Formáček/Tvrdý-methods are the most successful in their respective aspects, except regarding evenness and equality between starting of notes; where the best result is instead achieved by combining elements from all the presented methods.}},
  author       = {{Hamström, Tobias}},
  language     = {{swe}},
  note         = {{Student Paper}},
  title        = {{Tah-Keh eller Dö-Gö?}},
  year         = {{2025}},
}