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Dissertations / Theses on the topic 'Bass clarinet'
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1
Cameron, Erin. "The Emancipation of the Bass Clarinet: Harry Sparnaay and the Development of Solo Bass Clarinet Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752380/.
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Harry Sparnaay was a major contributor to the development of unaccompanied works for the bass clarinet and commissioned over 100 pieces for bass clarinet alone. While Sparnaay's book, The Bass Clarinet: A Personal History, includes a list of works written for him, there is minimal information available regarding most of these pieces. This project fills the information gap for this repertoire by providing publication status/score availability, performance challenges, recording history, program notes, and composer information. Each work is classified into three categories based on its publication status and recording history, providing a framework for understanding which works have entered the standard repertoire for the instrument.
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Bland, Britni Cheyenne. "The Bass Clarinetist’s Pedagogical Guide to Excerpts From the Wind Band Literature." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804824/.
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Student clarinet performers often encounter bass clarinet for the first time in a high school or university wind ensemble, so it is logical for clarinet pedagogues to encourage and assist their students in learning this wind band literature. In addition to becoming familiar with this oft performed repertoire, students will develop a set of specialized bass clarinet skills that one cannot learn on soprano clarinet. These skills include increased air capacity and support, timbre consistency in differing registers, intonation tendencies of the lower instrument, voicing flexibility, right hand thumb dexterity for keys that do not exist on soprano clarinet, technical facility for eleven pinky keys (as opposed to the seven pinky keys on a typical soprano clarinet, and effective altissimo fingerings. The purpose, then, of this document is to provide a performance guide for select bass clarinet solo excerpts from the wind band literature and to provide supplemental exercises intended to help students acquire the specialized bass clarinet skill set they will need in order to perform the selected excerpts successfully. The solos discussed in this document are excerpted from H. Owen Reed’s La Fiesta Mexicana, Florent Schmitt’s Dionysiaques, Percy Grainger’s Lincolnshire Posy, Frank Ticheli’s Blue Shades, William Bolcom’s First Symphony for Band, and Andrew Rindfleisch’s The Light Fantastic.
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O'Meara, Connor. "Selected Orchestral Excerpts for Bass Clarinet with Piano Reduction." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984170/.
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The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.
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Paprocki, Daniel Arthur. "Chamber Music with Bass Clarinet: A Bibliography of Works and A Correlation with the Emergence of the Virtuosic Orchestral Bass Clarinet." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1363864154.
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Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.
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Everall, Philip. "A digital resource for navigating extended techniques on bass clarinet." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1940.
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Extended techniques are integral to the creation and interpretation of works for the bass clarinet. Effects such as multiphonics, microtones, or percussive and air sounds, have become commonplace in repertoire from the twentieth and twenty-first centuries. This PhD dissertation posits that the bass clarinet’s affinity for these sounds can be traced back to the instrument’s earliest uses, and thus extended techniques should be central to the understanding of the bass clarinet. While there is a large knowledge-base of these techniques, the paradigm of print resources with accompanying music media in which it is catalogued is old-fashioned and inefficient. This project centres around the creation of a digital resource (an iPad application) that allows performers and composers access to this body of information in a format that is portable, powerful, and intuitive. It strives to organise the information in more efficient and useful ways, to present it elegantly, and to facilitate quick and intelligent methods of retrieval. The app can also be used as an educative tool enabling performers and composers to more quickly obtain mastery of this material. The efficacy of the app is demonstrated through a lecture recital and accompanying exegetical discussion explicating the ways that the app can add (or could have added) value in the composition, notation, learning, and performance of the works presented.
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BERN, ALAN SETH. "SIDEWAYS." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1145547580.
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Luttik, Karen. "An analysis of Géza Frid’s Concerto for Clarinets, Op. 82 (1972): Rediscovered repertoire by a Hungarian, Jewish, Dutch composer." Thesis, Boston University, 2017. https://hdl.handle.net/2144/21329.
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Thesis (D.M.A.)--Boston University.
This item includes the dissertation paper, handouts, as well as a video of the February 26, 2017 lecture and clarinet performance by Karen Luttik.Géza Frid (1904-1989) was a significant Hungarian-born Dutch composer and pianist of Jewish descent. His compositional style was highly regarded in the Dutch musical scene of the 20th century; his music has been programmed on multiple occasions by the Concertgebouw Orchestra and in 1949 and 1954 won the City of Amsterdam Music Award. Major influences on Frid’s musical development started in his native Hungary where he studied with Béla Bartók and Zoltán Kodály before his move to the Netherlands. In 1972, he composed an unusually lovely concerto for Bb, A, Eb and bass clarinets (Op. 82) and dedicated it to George Pieterson, principle clarinet with the Concertgebouw Orchestra. Scholarly discussions of Géza Frid’s clarinet music are not to be found in either the US based International Clarinet Society’s The Clarinet, or in the Dutch based De Klarinet. Intensive World Cat library searches have yielded no recordings of this piece, and currently there is not even one recording of Frid’s Concerto for Clarinets on YouTube or in the Naxos Music Library. The Concerto for Clarinets is a significant addition to the standard clarinet repertoire and needs to be introduced to the world wide clarinet community. Furthermore, save for some short selections on the Géza Frid website set up by his son, Arthur Frid and a Wikipedia article, no translations exist of Géza Frid’s autobiographical material. His life story was exceedingly interesting, having been a Jewish composer during the World War II years who was not allowed to perform or compose for years during the German occupation of the Netherlands. Luckily he survived the war years by going into hiding; he managed as part of the musician’s resistance to find ways to perform and work illegally giving clandestine concerts and falsifying documents. These were exceedingly dangerous risks, yet ones Géza Frid and his fellow musicians were willing to take because of their music. Frid published two autobiographical books and numerous articles for the Dutch music magazine Mens en Melodie, (People and Melody) revealing his deep musical insights; especially those relating to the music of the Concerto need to be summarized and translated to English from Dutch. This paper provides a general overview of the historical aspects of Géza Frid’s life, his WWII experiences, and his position as one of many persecuted Jewish musicians at the time. Géza Frid’s autobiographical information relating to his personal friendships with Bartók and Kodály is of interest when considering his music. Summaries and some translations are made of his two Dutch language autobiographical books, In 80 Jaar de Wereld Rond (Around the World in 80 Years) and Oog in Oog Met… (Eye to Eye With…). A basic analysis of Frid’s Concerto for Clarinets is provided regarding form, the various instrument appearances, and a special feature invented by George Pieterson called the ‘tremolo special’. Since this concerto was specifically composed for the Reformed Boehm system clarinets which George Pieterson used, a discussion of the differences between the French, German and Reformed Boehm clarinet systems is included. The performance portion of this project is a historically informed performance of this piece on the specific models of clarinets for which it was written. George Pieterson passed on in April 2016, and this project is a fitting tribute of his teaching to a generation of professional clarinetists in the Netherlands including the author.
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Avoglia, Bruno. "Processos da reelaboração: um diálogo entre performance e texto." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-11012018-154830/.
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O presente estudo teve como objetivo demonstrar a relevância da reestruturação técnica de uma obra, ou seja, uma reelaboração musical às particularidades de novos meios, focando o clarinete baixo como instrumento central, desencadeando um futuro aprimoramento e adequação aos novos recursos do instrumento e à sua linguagem. Além deste, o trabalho teve como finalidade apontar a proposição de um experimento deste instrumento a um repertório original não idiomático. Para tanto, o procedimento metodológico utilizado observou como referências as reelaborações já realizadas e compreendeu as maneiras com que foram concebidas. O trabalho contribuiu com o desenvolvimento teórico e prático da pesquisa em reelaborações para clarinete baixo, desta forma, favorecendo a disposição de um novo vetor experimental, baseado nas reelaborações feitas. Assim, conclui-se que esta pesquisa, diferentemente do rigor e fidelidade a qual geralmente a reelaboração é aplicada, enfatizou o processo como ferramenta criativa e dialógica.The present study aimed to demonstrate the relevance of the technical restructuring of a work, that is, a musical reelaboration to the particularities of new media, focusing on the bass clarinet as a central instrument, triggering a future improvement and adaptation to the new resources of the instrument and its language. Besides this, the purpose of the work was to point out the proposition of an experiment of this instrument to an original non-idiomatic repertoire. In order to do so, the methodological procedure used observed references as reworkings already performed and understood the ways in which one was carried out. The work contributed to the theoretical and practical development of the research in reelaborations for bass clarinet, in this way, favoring the arrangement of a new experimental vector, based on the reelaborations made. Thus, it is concluded that this research, in contrast to the rigor and fidelity to which the reelaboration is usually applied, emphasized the process as a creative and dialogical tool.
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Watts, Sarah. "Spectral immersions : a comprehensive guide to the theory and practice of bass clarinet multiphonics." Thesis, Keele University, 2015. http://eprints.keele.ac.uk/2487/.
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Spectral Immersions: A Comprehensive Guide To The Theory And Practice Of Bass Clarinet Multiphonics is a multi-component thesis that looks into the entire area of multiphonic analysis and composition for the bass clarinet. A literary section of the thesis looks at past publications and the problems associated with using this contemporary technique, in terms of both compositional and performance issues. A theoretical analysis of Type One multiphonics gives an insight into how multiphonics on the bass clarinet work in a more scientific way and their close relationship with the harmonic series. A complete analysis of Type Two multiphonics using past charts and new-found fingerings results in the creation of the new SW multiphonic charts for the bass clarinet. The new SW charts are fully tested by correcting problems in past compositions by means of several student compositional projects at various UK universities. Finally, a new set of études and pieces have been commissioned by composers from the UK and abroad. The results and successes of the pieces and new SW charts are analysed and can be listened to via accompanying audio and data CDs. The results of this thesis provide both performers and composers with an accurate, exhaustive and up-to-date usable publication. Not only does this thesis provide a new set of multiphonic charts, but the addition of compositional examples using multiphonics provides both practice and recital material for performers and useful compositional technique hints and advice for composers wishing to use this resource in the future.
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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.
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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.
"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.
'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."
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Cardoso, Frederic da Silva. "Da criação à performance: o Sonorismo como meio de desenvolvimento da criação musical do repertório para clarinete baixo em Portugal no século XXI." Doctoral thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30364.
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O presente trabalho científico pretende abordar a sonoridade enquanto virtuosidade,
tendo como objeto de estudo o Sonorismo e a sua influência na criação musical para clarinete
baixo em Portugal no século XXI.
Sendo o Sonorismo definido por enfatizar a descoberta de novas sonoridades através
de instrumentos tradicionais, e novas formas de fazer e pensar a Música, compositores e
intérpretes são os principais mentores para que surjam das mais diversas formas. Estas,
traduzidas por técnicas estendidas, remetem o intérprete para uma nova abordagem
instrumental que, para além de exigir um conhecimento e um domínio técnico diferenciado,
o desafia a ser mais flexível e versátil.
Desta forma, a metodologia pressupõe uma análise a partir de um corpus analítico
constituído por seis obras musicais (e respetivas gravações), da autoria dos compositores:
André Rodrigues (n. 1978), Bruno Ferreira (n. 1987), Carlos Brito Dias (n. 1991), Luís Neto
da Costa (n. 1993), Rúben Borges (n. 1994) e Rodrigo Cardoso (n. 1997); através de uma
análise performativa de cada uma delas, uma proposta pessoal de dedilhação para clarinete
baixo e uma perspetiva sobre as técnicas estendidas utilizadas.
O contributo deste percurso analítico demonstra que o Sonorismo apresenta um
paradigma composicional, interpretativo e performativo que, estando interligados, são
interdependentes em todo o processo criativo-musical de uma nova obra. Desta forma,
considera-se que a performance será tão sólida quão maior for o compromisso e interação
entre compositor e intérprete, aproximando assim o pensamento musical da sua realização
prática; From Creation to Performance: 21st century Portuguese repertoire for
bass clarinet developed by Sonorism
ABSTRACT:
The present scientific work intends to approach sonority as a virtuosity, having as
object of study Sonorism and its influence in the musical creation for bass clarinet in Portugal
in the 21st century.
Being this Sonorism defined by an emphasis on the discovery of new sounds through
traditional instruments, and new ways of making and thinking about Music, composers and
performers are the main mentors for to arise in the most diverse ways. Consequently, these
are translated by extended techniques, that will take the performer into a new instrumental
approach that will require knowledge in a differentiated technical domain, challenging him
to be more flexible and versatile.
In this way, the methodology presupposes an analysis based on an analytical corpus
consisting of six musical works (and respective recordings), by the composers: André
Rodrigues (b. 1978), Bruno Ferreira (b. 1987), Carlos Brito Dias (b. 1991), Luís Neto da
Costa (b. 1993), Rúben Borges (b. 1994) and Rodrigo Cardoso (b. 1997); through a
performative analysis of each of them, a personal fingering proposal for bass clarinet and a
perspective on the extended techniques used.
This analytical path has contributed to demonstrating that Sonorism presented a
compositional, interpretative, and performative paradigm that is interconnected and
interdependent to the whole creative-musical process of a new work. In the end, it is
considered that the greater the commitment and interaction between composer and performer
more solid the performance will be, bringing the musical thought closer to its practical
realization.
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Silva, Patricia Aparecida da. "Brahms' Trio in A minor, Op. 114: a transcription and edition for double bass, clarinet, and piano." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5851.
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Chamber music is a major area of neglect in the study of the double bass, and the instrument has also suffered from a scarcity of chamber music literature written by major composers. As bassists focus predominantly on solo and orchestral repertoire, the purpose of this study is to enrich the double bass literature and increase awareness of chamber music as a tool for bassists to develop as artists by providing a transcription of Johannes Brahms’s Trio in A minor, Op.114 for double bass, clarinet, and piano. The transcription adds to the literature for double bass from the Romantic era, giving players the chance to work on their technical and musical skills in a chamber music setting. In addition, performance of this transcription will enhance double bassists’ understanding of the style of one of the most important nineteenth-century composers.
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Bonacossa, Federico. "Materials and Techniques in D’improvviso da immobile s’illumina, for Bass Clarinet, Two Orchestras, Piano and Percussion." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/989.
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D’improvviso da immobile s’illumina is a concerto for bass clarinet, two orchestras, piano, and percussion, that I composed during my graduate studies at Florida International University in Miami. The work is approximately 16 minutes long and is scored for 30 independent instrumental parts in addition to the bass clarinet soloist. Although the piece does not incorporate electronics, electronic music was a major influence in its creation, and the computer was used extensively as a compositional tool. In addition, the writings of Henry Cowell and the music of Sofia Gubaidulina influenced the concerto in a number of ways. While writing this work, I had to discover new ways to allow pure instinct to intermingle with strict calculation. This paper will discuss in detail the various techniques used in the creation of the concerto as well as some of the works that influenced it.
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吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
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Baril, Félix Frédéric. "Dérèglement passager de corps hétérogènes : le concept d'organisme musical et la métaphore du virus : étude sur les possibilités de développement organique du matériau musical." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100751.
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Dereglement passager de corps heterogenes is a work for flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), horn, piano, violin, cello and contrabass which explores the concept of "virus" within a musical form similar to the theme and variations. During its elaboration, I imagined what could metaphorically be the effects of different virus on what I define as "musical organisms". This idea suggested a number of variations that could serve as laboratories to experiment different levels of interaction between the virus and the musical organisms. This thesis consists of the musical score and a detailed analysis.
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Welch, Chapman. "Three pieces for musicians and computer Rameaux, Nature morte, Moiré /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9723.
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First part for bass flute with b-foot, and computer; 2nd part for metal percussion (vibraphone, glockenspiel, crotales) and computer; 3rd part for clarinet (in A and B-flat) and computer. Includes specifications for computer. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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Chen, Carolyn Chen Carolyn Chen Carolyn Chen Carolyn. "Pieces." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453651.
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Thesis (M.A.)--University of California, San Diego, 2008.Accompanying disc is DVD-ROM, and contains sounds files for recordings of the works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Performance instructions precede each score.
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Spence, Jacob F. "L'Éternité : cantata for SATB soloists and choir, flute, cor anglais, bass clarinet, alto saxophone, timpani, eight percussionists, piano, harpsichord, celesta, harp, guitar and string orchestra." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/27450.
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Welch, Chapman. "Three Pieces for Musicians and Computer: Rameaux, Nature Morte, Moiré." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9723/.
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Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.
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Henningsson, Andreas. "Fem och en halv komposition : Skriftlig reflektion inom självständigt, konstnärligt arbete." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3051.
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In this work I have explored different ways of communicating the notated music (even in a more abstract form) to the musicians. How can I develop the aesthetics I am aiming for by using specific techniques in notation. I have also investigated how to incorporate the strengths of each improviser and whether it is possible to use these strengths as a compositional factor The group consists of a group of seven musicians playing 9 different instruments in total: trumpet, trombone, mellophonium, alto saxophone, tenor saxophone, clarinet, bass trombone, double bass and drums. During this project I wanted to make the most of composing and arranging for this particular constellation of instruments and the musicians who plays them. The music I have written is for the most part influenced by jazz but sometimes bordering to a more classical or orchestral approach. In this project, I have challenged myself as an instrumentalist and a composer by utilizing a low C-string on the double bass. And while it made some passages more technically difficult to execute on the instrument, it has pushed me forward as a composer in wanting to explore all the different sounds and timbres available. The project resulted in a recording session at Sunnanå Studio, Sweden.Repertoar samt mediedokumentation:
1. Preludium (kompositör: Andreas Henningsson)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone
2. Faktiskt (kompositör: Petter Hängsel)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor
3. Musikhandlaren (kompositör:Andreas Henningsson
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor
4. Gikt Fever (kompositör: Petter Hängsel)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor
5. Humoresque pour les Chats (kompositör: Andreas Henningsson)
Andreas Henningsson-Kontrabas, Petter Hängsel, Mellofon, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett och Tenorsaxofon, Kristoffer Rostedt-trummor
6. Interludium (kompositör: Petter Hängsel)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone
7. Three Brothers (kompositör: Andreas Henningsson)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor
8. Roll (kompositör: Petter Hängsel)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor
9. Valse des Bois (kompositör: Petter Hängsel)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor
10. KB Moods (kompositör: Andreas Henningsson)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor
11. Postludium (Kompositör: Andreas Henningsson och Petter Hängsel)
Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone
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陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.
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Johnson, Madeline LeBaron. "An examination of the clarinet works of Luigi Bassi." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3958.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 20, 2000, June 11, 2001, Jan. 23, 2002, and Apr. 21, 2007. Includes bibliographical references (p. 117-122).
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Johnson, Madeline LeBaron. "An Examination of the Clarinet Music of Luigi Bassi." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3958/.
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This dissertation focuses on the clarinet music of Luigi Bassi (1833-1871), an Italian clarinetist and composer. Biographical information and performance history for Luigi Bassi are included. Bassi wrote 27 works for clarinet, including 15 opera fantasies or transcriptions. Most of his works are housed in the Milan Conservatory library. This document provides analysis of all but two of Bassi's 27 works. For Bassi's pieces with ties to opera, I identified his source material and discussed the ways in which he manipulated the material. A brief synopsis of each opera is included. This study serves as a performance guide for those seeking to perform Bassi's clarinet works.
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Silveira, Mário Sérgio Costa da. "Análise da qualidade de vida dos bairros Clarice Ataíde, Novo Horizonte e Village do Lago I e II na cidade de Montes Claros tendo como base o índice de vulnerabilidade das famílias (IVF)." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/169097.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Sociologia Política, Florianópolis, 2016.Made available in DSpace on 2016-10-11T04:06:08Z (GMT). No. of bitstreams: 1 342180.pdf: 5514866 bytes, checksum: 9deca9ea3cdddf51d3e4564351d99931 (MD5) Previous issue date: 2016
Este trabalho tem como objetivo a comparação quali-quantitativa de quatro bairros localizados na região nordeste da cidade de Montes Claros a partir de duas análises, sendo uma estatística utilizando o Índice de Vulnerabilidade das Famílias (IVF) e suas dimensões, e outra histórica, geográfica e social, baseada em levantamentos feitos in loco lastreados pelos trabalhos de Leite (2011), França (2012) e Fonseca (2010), em documentos da Prefeitura Municipal de Montes Claros, em entrevistas realizadas com pessoas que tiveram grande importância na formação dos bairros, e, também, em conversas com moradores da região. As análises basearam-se no conceito de qualidade de vida urbana. Entendia-se que as condições habitacionais e a origem dos bairros influenciariam diretamente na qualidade de vida. Dessa forma, após realizado o levantamento in loco, verificou-se que os bairros ainda possuem um relativo contato com a natureza e grande influência do meio rural, sérios problemas com poluição e destinação do lixo, além de graves deficiências com relação ao atendimento de serviços públicos, situações que provocam diminuição na qualidade de vida. Com o cálculo do IVF, verificou-se ainda que os bairros são estatisticamente homogêneos, refutando a hipótese diferenciação entre a áreas.
Abstract : This work aims at qualitative and quantitative comparison of four neighborhoods located in the northeast of the city of Montes Claros from two analyzes being a statistic using the Vulnerability Index of Families (IVF) and its dimensions, and other historical, geographic and social, based on surveys conducted in loco backed by Milk works (2011), France (2012) and Fonseca (2010), documents the Municipality of Montes Claros, in interviews with people who have had great importance in the formation of neighborhoods, and also in conversations with local residents. The analyzes were based on the concept of quality of urban life. It was understood that housing conditions and the origin of the neighborhoods influence directly the quality of life. Thus, after carried out the survey on the spot, it was found that neighborhoods still have a relative contact with nature and great influence in rural areas, serious problems with pollution and waste disposal, as well as serious deficiencies in relation to care services public situations that cause a decrease in quality of life. With the calculation of IVF there was still that neighborhoods are statistically homogeneous, refuting the hypothesis of differentiation between areas.
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Schmidt, Johann Christoph. "Motetto Auf Gott hoffe ich: Für Alto-Solo, Coro (Soprano, Alto, Tenore, Basso) und 2 Clarini in D, 2 Trombe in D, Tympani, 2 Flauti allemando, 2 Violini, 2 Viole Fagotto e Basson concertato, Violoncello, Organo, Tiorba: Partitur." Ries & Erler, 2020. https://slub.qucosa.de/id/qucosa%3A74090.
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Die „Denkmäler der Tonkunst in Dresden“ veröffentlichen in sieben Bänden Werke des Dresdner Hofkapellmeisters Johann Christoph Schmidt (1664-1728) aus Hohnstein/Sächsische Schweiz, einem von der Dresdner Musikgeschichtsschreibung vergessenen Komponisten.
Als erster Band erscheint unter der Editionsnummer 22 die Partitur des Motetto „Auf Gott hoffe ich“ für Alt-Solo, Chor und Orchester für 14 Stimmen. Die Ausgabe basiert auf einer Übertragung von Kirchenmusikdirektor Ulrich Meier, Auerbach/Vogtland, die im Rahmen einer Diplomarbeit an der Hochschule für Kirchenmusik Dresden 2001 entstand. Das Werk existiert nur in einer fehlerfreien Abschrift von Johann Sebastian Bach, die dieser vermutlich zwischen 1714 und 1716 offenbar für den eigenen Gebrauch in Weimar angefertigt hat.
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"A Recording and Performance Guide for Three New Works Featuring Clarinet and Electronics, Clarinet and Piano, and Clarinet, Bass Clarinet, and Piano." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38534.
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abstract: This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.Dissertation/Thesis
shimmer
Paragon
Duality in the Eye of a Bovine, Movements I and II
Duality in the Eye of a Bovine, Movement III
Duality in the Eye of a Bovine, Movement IV
Doctoral Dissertation Music 2016
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"Adding to the Bass Clarinet Repertoire Through Informed Transcription." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63042.
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abstract: The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.Dissertation/Thesis
Doctoral Dissertation Music 2020
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Schanker, Larry. "Trillium : a nonet in three movements /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3088837.
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Thesis (Ph. D.)--University of Chicago, Department of Music, June 2003.For flute, B♭ clarinet, soprano saxophone, bass clarinet, violin, viola, violoncello, double bass, and percussion (marimba, vibraphone, flexatone, castanets). Also available on the Internet.
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"A Recording Project Featuring Four Newly Commissioned Duets for Clarinet and Bass Clarinet with Tenor Saxophone and Bassoon." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.27424.
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abstract: Four new duets by different composers were commissioned for this project that utilize the clarinet and bass clarinet with tenor saxophone and bassoon. The pieces are Three Southwest Landscapes by Dan Caputo, Gestures by Michael Lanci, Connotations and Denotations by Jeffery Brooks, and Lyddimy by Thomas Breadon, Jr. The present document includes background information and a performance guide for each of the pieces. The guide gives recommendations to aid musicians wishing to perform these works. Also included are transcripts of interviews conducted with each composer and performer, as well as full scores of each piece. In addition to the document there are recordings of all four pieces.Dissertation/Thesis
Dan Caputo, Three Southwest Landscapes, I - Marvel of Ages
Dan Caputo, Three Southwest Landscapes, II - Weathered Moon
Dan Caputo, Three Southwest Landscapes, III - Abstrata
Thomas Breadon, Jr., Lyddimy
Michael Lanci, Gestures
Jeffery Brooks, Connotations and Denotations
Doctoral Dissertation Music 2014
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"Three Newly Commissioned Works for Bass Clarinet: A Recording and Performance Practice Guide." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14685.
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abstract: New works for the bass clarinet as a solo instrument are uncommon. In the interest of expanding the repertoire of the bass clarinet, three new works for bass clarinet were commissioned from three different composers, all with different instrumentations. The resulting works are Industrial Strength for bass clarinet and piano by Kenji Bunch; Dark Embers for two bass clarinets by Theresa Martin; and Shovelhead for bass clarinet and interactive electronics by Steven Snowden. Although all three works feature the bass clarinet, they are all very different and pose unique challenges to the performer. To accompany these pieces, and as an aid to future performers, a performance practice guide has been included with recommendations for individuals who wish to perform these works. Included in the guide are recommended fingerings, practice techniques, and possible adjustments to the bass clarinet parts designed in collaboration with the composers that make the works more technically accessible. Accompanying this guide are full scores of all three works, a recording of them performed by the author, and a chart that contains recommended altissimo fingerings.Dissertation/Thesis
D.M.A. Music 2012
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許筱婕. "The Analysis and Performing Style Discussion of "Sonata, op.41"for Bass clarinet by Othmar Schoeck." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/96345154235897517221.
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"Redeemed from the Fall For Double Choir & Soloists with Violin, Bass Clarinet, Marimba & Organ." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44109.
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abstract: Redeemed from the Fall is a cantata in five movements for double choir SSAATTBB with Soprano and Baritone soloists and violin, bass clarinet, marimba, and organ. The work’s approximate duration is 19 minutes. The text is derived from ancient and modern scriptures including the Bible, the Book of Mormon and the Book of Moses as contained in the Pearl of Great Price. The textual theme addresses the compelling narrative of the redemption of Adam and Eve after the Fall and expulsion from the Garden of Eden. The work begins with an instrumental overture, In Sorrow, inspired by the fallen state our first parents entered as consequence for partaking of the forbidden fruit. The second movement, The First Angel, is an aria for baritone accompanied by choir a cappella. It sets to music the words of an angel who appeared to Adam proclaiming that animal sacrifice is representative of the future atoning sacrifice of the Son of God. The central movement, The Baptism of Adam, is for soprano solo, choir (SSAA) and the ensemble. It depicts the miraculous events surrounding Adam’s acceptance of the gospel covenant, with the Holy Spirit baptizing Adam by immersion in water. The subsequent a cappella chorus, This Is the Plan of Salvation, further explores the truth that salvation for Adam and Eve and all their posterity was prepared through Christ from the beginning. The full chorus and ensemble perform the finale, Adam Fell, declaring that the very purpose of the Fall was that all humans could know the joy of redemption through Christ.Dissertation/Thesis
Doctoral Dissertation Music 2017
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"Patterns and Soundscapes: An Album in Five Movements for Alto Saxophone, Bass Clarinet, String Quartet, Solo Viola, Two Drum Sets, and Electronics." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.57305.
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abstract: Patterns and Soundscapes explores the concept album format, popularized in the late 1960s and into modern times by artists such as the Who, Pink Floyd, and Frank Zappa. Specifically, I sought to adapt this format as a compositional process aimed towards the completion of a large-scale work that can be presented in album format and live performance. Further influenced by the concept album, I sought to create pieces consisting of similar musical techniques, motivic ideas, and harmonic language, so that each piece could be performed on its own or be combined as a multi-movement work.
I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement.
This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.Dissertation/Thesis
Masters Thesis Composition 2020
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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.
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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
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Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.
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Ferreira, David Emanuel Marinho. "Benefícios de um estudo variado para alunos de clarinete: flexibilização do trabalho de bases." Master's thesis, 2019. http://hdl.handle.net/1822/63475.
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Relatório de estágio de mestrado em Ensino de MúsicaAo presente relatório, compete apresentar e fundamentar o projeto de intervenção levado a cabo no ano letivo 2018/2019. Projeto inserido na componente prática do Estágio Profissional do Mestrado em Ensino de Música do Instituto de Educação da Universidade do Minho. O Projeto de Intervenção Pedagógica foi desenvolvido junto de 5 alunos de clarinete do nível Secundário, e tem como objetivo a procura de uma abordagem diferente relativamente à prática do trabalho de bases. Desde há muito que a prática dos domínios e/ou competências têm-se apresentado imaculadamente fixas no que tem que ver com a sua abordagem. Posto isto, com este projeto procuro tornar os hábitos de estudo mais flexíveis e que tem por base uma natural conotação entre a prática de domínios intrínsecos à atividade musical e a prática desportiva. Por conseguinte, a componente investigativa deste projeto, centrou-se nas metodologias relacionadas com o estudo individual, tanto como, a importância do professor como orientador de um método de estudo. Trata-se de um método completamente flexível na sua génese, com uma perspetiva tripartida das competências a trabalhar. Consequentemente foi realizada uma investigação relacionada com programações de treino desportivo, denominadas como periodização, cuja abordagem deste projeto centra-se na periodização ondulatória. Findo a investigação, foi trabalhado um compêndio de auxílio aos alunos, fundamentado nos princípios da periodização ondulatória, baseada numa divisão flexível das abordagens a praticar diariamente, numa divisão e/ou mesociclo semanal.
The present work is intended to present and underpin the work developed during academic year of 2018/2019. This project makes part of a practical component in the Music Education Master at the “Instituto de Educação” from “Universidade do Minho”. The present project was developed with five clarinet students from high school and was defined as gold researching for a different approach to basis practice. Since always, the practice of technical skills has been exclusively fixed on specific approach. Furthermore, with this project I am traying to improve study routines in something more flexible based on a natural connotation between the musical practice and sports practice. Therefore, the investigation component of this project is focused on the associated methodologies to individual study, such as the importance of the teacher’s role as a guide of a study method. This method is completely flexible, with a multilateral perspective of skills to work. Consequently, was made an investigation related to sports training schedules. These schedules are named by periodization, the point of project approach is focuses in a varied periodization. After the investigation, was made an auxiliary compendium for students, based on the ideologies of a varied periodization. This compendium is structed in a way that students can work all days of a week different skills with different approaches.
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Heikel, Julie Anne. "Constructing chivalry: the symbolism of King Mark in Wagner's "Tristan und Isolde"." Thesis, 2010. http://hdl.handle.net/1828/3148.
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Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness.
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Berger, Steven. "Compositions [Instrumental music. Selections]." Thesis, 1992. http://hdl.handle.net/2429/2425.
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Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).
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Zuvela, Perica. "The use of the clarinets and bass clarinets in combination with other instruments to potray the libretto of Puccini's opera Tosca." Diss., 2000. http://hdl.handle.net/2263/26369.
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The main aim of the study was to examine and discover the use of the clarinets and bass clarinet, in combination with other instruments, to portray the libretto in Puccini's opera Tosca. • scrutiny of the literature about Puccini's life and works, • an analysis of the score with emphasis on the clarinets', bass clarinet's and singers' parts and specific attention to the demands of the libretto, and • listening to a number of recordings of the opera A variety of different aspects are organized in the following chapters: Chapter 1 consists of general information about the study. Chapter 2 offers a short biography, while Chapter 3 provides a discussion about the libretto. In Chapter 4 the author deals with tonguing and articulation. Chapter 5 examines melodic aspects and Chapter 6 consists of views on dynamic aspects. In Chapter 7 a discussion about rhythmic aspects takes place, and in Chapter 8 the author explores the combination of the clarinets and bass clarinet with other instruments. Finally, Chapter 9 is a summary of the conclusions drawn in this study. • Puccini's predilection for continuous mixing of instrumental colours sometimes makes it difficult to separate the clarinet for analytical purposes. Nevertheless, the importance of the use of the clarinets or bass clarinet can clearly be detected. • Puccini employs all creative and technical capabilities of the clarinet and bass clarinet in creating and changing the atmosphere, depicting human emotions and emphasizing dramatic moments. • Carefully chosen and applied articulation, trills, tremolos and repeated notes in the clarinet and bass clarinet parts are Puccini's gestures in the expression of love, anger and fear. However, articulation in the clarinet and bass clarinet parts mainly matches the other instrumental lines in the orchestra. • Because the clarinet and bass clarinet blend well with any instrument and with the human voice, Puccini uses them in solo parts, in unison with the singer, or as an accompaniment to the singer's line. • As a consequence of Puccini's need to consciously pay minute attention to the details of the libretto, the structure, shape and length of the clarinet phrases constantly change. • Exploring the dynamic's capabilities of the clarinets and bass clarinet presents the wide palette of colours and nuances which these instruments can produce. Puccini uses a large number of dynamic markings in the clarinet and bass clarinet parts. They range between ppp and fff. The piano dynamic level is mainly used to suggest fear and suspicion or to portray lyrical moments in the libretto, while the forte level is a tool to create drama and express human anger, pain, or the struggle between good and bad. • Puccini puts very strong emphasis on rhythm as a device for illuminating the details of the libretto, stage actions, human feelings, and different atmospheres in the opera Tosca. The different rhythmical patterns and changes of metre affect all instruments. Sometimes the clarinet line has the same rhythmical figures as the rest of the woodwind, but very often the clarinet plays a different rhythm from the rest of the orchestra or the singer's melody.Dissertation (M Mus (Performing Art))--University of Pretoria, 2007.
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