This research uses three of the lesser-known concerti by Antonio Vivaldi to discuss how the musical material in these concerti is equally suitable to those concerti that have found popularity through printed editions earlier in the twentieth century, such as RV 484 in E minor. These concerti are excellent resources for musicianship development for undergraduate bassoon players due to the comprehensive content found in the concerti encompassing technique, musicality, and creativity. Vivaldi's thirty-seven complete and two incomplete concerti are the largest known collection composed for bassoon by a single composer. While the level of virtuosity varies among the concerti, the inherent technical, musical, and creative demands are explicit in these three concerti (RV 474 in C major, RV 489 in F major, and RV 500 in A minor) which have not been main-stream repertoire choices in public. The accessible pitch range of Vivaldi concerti and the close relation between Vivaldi concerti and musicianship development required for students make Vivaldi's bassoon concerti ideal material for the undergraduate curriculum. It is important for students to explore the technical challenges, stylistic interpretations, and musical decisions early on and often in their studies. The interviews with some of the most significant bassoonists and pedagogues around the world confirms the critical role of Vivaldi concerti hold in bassoon performance and pedagogical repertoire. The exploration and involvement of the lesser known Vivaldi bassoon concerti enriches the pedagogical material and helps students on their musicianship development, which is also what Vivaldi's concerti were initially composed for. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://bibliotheek.ehb.be:2222/en-US/products/dissertations/individuals.shtml.]