Michael Burns

Michael Burns holds the BM degree from the Victoria University of Wellington, New Zealand; the MM from the New England Conservatory; and the DMA from the University of Cincinnati College-Conservatory of Music. Burns has performed in numerous professional orchestras, including the Cincinnati and the New Zealand Symphonies; and has played Principal in the Midland/Odessa, Richmond, and Abilene Symphonies, and the Cincinnati Chamber Orchestra. Currently he is principal bassoon in the Asheville Symphony and NC Opera. Prior to UNCG he taught at the Cincinnati College-Conservatory, Indiana State University, and Midland College. He remains active as a solo and chamber performer with numerous performances at International Double Reed Society conventions, recitals, and master classes throughout North America, China, Germany and the South Pacific, and is bassoonist in the EastWind Ensemble, Forecast Music, and the NC Collective. He has recorded for the Centaur, CAP, Telarc, EMI, Klavier, and Mark labels. In summers, Burns serves on the bassoon faculty of the InterHarmony International Music Festival in Tuscany, Italy and the Anchorage Music Festival in Alaska. He was formerly associated with the Eastern Music Festival and the Bands of America Summer Symposium. He is also an active composer with many of his pieces being published by TrevCo Music, Potenza Music and Effiny Music and frequently performed internationally. His mentors include William Winstead, Sherman Walt, Leonard Sharrow, and Colin Hemmingsen. He is archivist for the International Double Reed Society and was co-host for the IDRS 2003 Conference in Greensboro, NC. Burns is a Yamaha Performing Artist.

There are 18 included publications by Michael Burns :

TitleDateViewsBrief Description
Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference 2004 4392 The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of basso...
The Benefits of Wind Quintet. 2001 3193 This article is intended to encourage band directors to organize their talented woodwind and brass students into chamber groups. There are several advantages to your band program to be gained from such a venture.
Dial Indicator Measurements 2005 566 A diagram of reed dimensions for woodwind instruments (bassoon)
How to choose a Double Reed Player. 1999 3033 As a bassoonist, I have often been asked how to choose students suitable for switching-to or starting-on the double reed instruments. Below I will outline some of the criteria I feel can help make that choice.
The Importance of Breathing. 1996 2609 The title of this article seems obvious. Everybody knows that breathing is important we stop breathing and we die! What I wish to discuss is the fundamental necessity of good breathing and support for playing a wind instrument.
Music Written for Bassoon by Bassoonists: An Overview 2001 9599 In his article on the bassoon in the New Grove Dictionary of Music and Musicians, William Waterhouse, the prominent British bassoonist and scholar, lists some of the earliest known works written for bassoon1. Several pieces are listed that...
Reed Dimensions 2005 583 diagram of reed dimensions for woodwind instruments (bassoon)
Reedmaking Notes: A Step-by Step Description of the Construction of the Reed 2005 1084 A Step-by Step Description of the Construction of the Reed for Woodwind Instruments
Regions of the Bassoon Reed Blade 2005 525 A diagram of reed dimensions for woodwind instruments (bassoon)
Relative Thicknesses of the Bassoon Blade 2005 42 Music | Musical Instrument Specifications | Bassoon
Response Issues on the Bassoon: Cracking Low Notes, Cracking High Notes, Bocal Flex - Voicing - Foghorn Effect 2007 15070 The bassoon is a unique instrument with a characteristically quirky and idiosyncratic sound. In terms of modern instrument development it also is something of a dinosaur, lagging behind the other woodwinds in acoustical developments by centuries in c...
Side Views of Some Possible Reed Profiles 2005 570 A diagram of reed dimensions for woodwind instruments (bassoon)
Some Thoughts on Practicing. 1997 747 Every Musician is told at some point that they need to practice. This advice may come from a teacher, band director, conductor, section leader, or from numerous other sources but how often are they told what to practice, and more importantly how to...
Some Thoughts on Reedmaking 2005 648 Reedmaking instructions and tips (bassoon)
Some Typical Bassoon Problems, Their Possible Explanations, and Solutions 2002 5133 This article deals with response problems, low notes, high notes, cracking and questionable intonation in the bassoon.
Strategies for Teaching the Bassoon Embouchure. 2004 3800 This article is aimed at giving a few suggestions and strategies for teaching the bassoon embouchure that I have learned over the past several years of teaching at the University level.
Teaching Woodwinds: A Method and Resource Handbook for Music Educators. 1998 3635 Teaching Woodwinds: A Method and Resource Handbook for Music Educators, William Dietz, General Editor, with Jerry Kirkbride/Hal Ott/ Mark Weiger/Craig Whittaker. Firstly for my double reed audience, let me say that the chapters in this text relating ...
Thoughts and Strategies for Bassoon Vibrato. 2005 5671 This article had its beginnings as a handout for a session on vibrato for my bassoon repertoire class at UNCG. As I began research and gathering my own thoughts on the topic I discovered that it has not been dealt with very extensively or recently in...