Relevant bibliographies by topics / Clarinet

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Clarinet'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Clarinet"

1

Barnard, John. "The Eve of St Agnes: ‘Clarionet’ or ‘Clarinet’?" Keats-Shelley Review 31, no. 1 (2017): 8–11. http://dx.doi.org/10.1080/09524142.2017.1298894.

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O'Loughlin, Niall. "Clarinet." Musical Times 126, no. 1712 (1985): 608. http://dx.doi.org/10.2307/964927.

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O'Loughlin, Niall. "Clarinet." Musical Times 129, no. 1739 (1988): 28. http://dx.doi.org/10.2307/964984.

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YUNYK, ROSTYSLAV. "GENRE SEMANTICS IN "SUITE NOSTALGIQUE" FOR CLARINET AND PIANO BY TARAS YASHCHENKO." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(66) (March 13, 2025): 60–73. https://doi.org/10.31318/2414-052x.1(66).2025.333472.

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This study analyzes the role of compositions for solo clarinet and clarinet-inclusive ensembles as unique contributions within the oeuvre of Ukrainian composers. The research highlights the potential of these works to explore the expressive capacities of the clarinet, particularly in the context of chamber ensemble performance, genre innovation, and creative experimentation. The novelty of the study lies in identifying the semantics of chamber wind ensembles as an independent scholarly issue, especially given the growing number of such compositions. The paper examines the interrelation between
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Rosen, Jerome, Harrison Birtwistle, Jules Langert, et al. "Clarinet Quintet; For Clarinet and String Quartet." Notes 44, no. 2 (1987): 365. http://dx.doi.org/10.2307/941597.

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Rice, Albert R. "Berr's Clarinet Tutors and the 'Boehm' Clarinet." Galpin Society Journal 41 (October 1988): 11. http://dx.doi.org/10.2307/842703.

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Zhan, Ke. "The Evolution and Development Trend of Modern Clarinet Art." International Journal of Education and Social Development 2, no. 2 (2025): 100–106. https://doi.org/10.54097/dgmbfg26.

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This paper aims to discuss the evolution and development trend of modern clarinet art. First of all, starting from the origin and development background of clarinet, we comb the characteristics and definition of modern clarinet art. Secondly, this paper analyzes the technical evolution of modern clarinet art in performance skills, musical style, sound technology and other aspects. On this basis, we further discuss the development of modern clarinet art in forms of expression, music education, communication and communication. By analyzing the representatives of modern clarinet artists and their
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O'Loughlin, Niall. "Modern Clarinet." Musical Times 127, no. 1719 (1986): 341. http://dx.doi.org/10.2307/965089.

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Mitchell, Ian. "New Clarinet." Musical Times 128, no. 1736 (1987): 571. http://dx.doi.org/10.2307/965403.

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O'Loughlin, Niall. "Clarinet Quintets." Musical Times 128, no. 1730 (1987): 214. http://dx.doi.org/10.2307/965437.

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Dissertations / Theses on the topic "Clarinet"

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Mendes, Diogo António Tavares Magro. "Relatório de prática de ensino supervisionada realizada na Escola Artística de Música do Conservatório Nacional: a música contemporânea no ensino do clarinete em Portugal." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23921.

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O objeto de estudo do presente trabalho é a abordagem à música contemporânea nos cursos oficiais de clarinete em Portugal. Este trabalho pretende estudar a abordagem da música contemporânea no ensino do clarinete em Portugal e o possível impacto que esta poderá ter desenvolvimento dos músicos e na sua profissão. Como metodologia, foi realizada uma pesquisa bibliográfica sobre o tema, uma recolha de programas do curso de clarinete e um questionário. O relatório encontra-se organizado em duas partes distintas, sendo a primeira referente à prática de ensino supervisionada realizada na Escola Artí
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Horst, Raymond C. "Graduate clarinet recital." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27771.

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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.<br>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 Hung
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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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Brook, Taylor. "Mitya: Concerto for clarinet." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95001.

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Mitya: Concerto for Clarinet is a composition for solo Bb clarinet, large ensemble and electronics. The work is in three movements, each movement utilizing a different approach to extended just intonation in its pitch structure. The pitch structure of the first movement is designed around a single pitch, held by the clarinet soloist, which takes on a variety of just relationships in the harmony as other pitches change in relation to it. The second movement is a type of passacaglia which continuously modulates up a just major third at each repetition of the passacaglia theme. These untempered m
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McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoen
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Figueiredo, Virginia Costa. "Music by contemporary Portuguese composers a study of extended clarinet techniques in selected clarinet works /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835614371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Powell, Alyssa Rose. "Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1589808462811083.

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Beare, Michael. "British clarinet playing from 1940." Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mumb368.pdf.

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Blazich, Joan Michelle. "Amand Vanderhagen’s Méthode Nouvelle et Raisonnée Pour la Clarinette (1785) and Nouvelle Méthode de Clarinette (1796): Complete Translations and Analyses of the First Classical Clarinet Treatises." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122911553.

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Books on the topic "Clarinet"

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Volta, Jean-Marc. La clarinette basse =: The bass clarinet. International Music Diffusion, 1996.

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Volta, Jean-Marc. La clarinette basse =: The bass clarinet. International Music Diffusion, 1996.

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Nunemaker, Richard. The effortless clarinet: A clarinet principles. Richard Nunemaker, 2006.

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Smallman, Jeff. Clarinet quartet. Lighthouse Music Publications, 2007.

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Lazarof, Henri. Clarinet concerto. Merion Music, 1990.

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Hoover, Katherine. Clarinet concerto. T. Presser, 1989.

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Thurston, Frederick. Clarinet technique. 4th ed. Music Dept., Oxford University Press, 1985.

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Aguila, Miguel del. Clarinet concerto. Southern Music Pub. Co., 1992.

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Stone, Nick. Mr. Clarinet. HarperCollins, 2007.

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Rice, Albert R. The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.001.0001.

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The second edition of The Baroque Clarinet (1992) is a history of the clarinet and chalumeau from antiquity to 1760 in six chapters: “Origins of the Chalumeau,” “Music for the Chalumeau,” “The Earliest Clarinets,” “Playing Techniques for the Baroque Clarinet,” “Music for the Baroque Clarinet,” and “Baroque Clarinet in Society.” There are five appendices: four checklists of extant chalumeaux, extant clarinets, chalumeau music and sources from 1694 to 1780, clarinet music and sources from about 1715 to 1760; and a fifth of chalumeau and clarinet concerts, rehearsals, and clarinets for purchase i
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Book chapters on the topic "Clarinet"

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Colwell, Richard J., and Michael P. Hewitt. "Clarinet." In The Teaching of Instrumental Music, 6th ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003406891-21.

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Johnson, Tom, and Franck Jedrzejewski. "Clarinet Trio." In Looking at Numbers. Springer Basel, 2013. http://dx.doi.org/10.1007/978-3-0348-0554-4_8.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Clarinet." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-18.

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Wilber, Bob. "Clarinet à la King." In Music was not Enough. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09603-9_8.

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Rice, Albert R. "The Earliest Clarinets." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0003.

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The makers, design, construction, and origin of the Baroque clarinet are discussed in this chapter. Two tables list chronologically all extant two- and three-key clarinets by country, and include maker, and city when known, maker’s dates, date of clarinet, number of clarinets, nominal pitch, and collection. There are 36 two-key and 22 three-key clarinets, made in Germany, Belgium, the Netherlands, Austria, Czech Republic, France, Sweden, and Finland. The earliest documentation for the invention of the clarinet is reviewed, and how and why Johann Christoph Denner improved the chalumeau and inve
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Rice, Albert R. "The Earliest Instruments." In The Baroque Clarinet. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198161882.003.0002.

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Abstract The makers, design, and construction of the clarinet with two or three keys, known as the baroque clarinet, are the subjects of this chapter. Such instruments were initially made during the first decade of the eighteenth century and continued to be constructed and played throughout the eighteenth century and into the nineteenth. Many common characteristics of construction shared by the extant baroque clarinets are discussed below, along with differences in construction which appear to reflect, the preferences and techniques of their makers.
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Ely, Mark C., and Amy E. Van Deuren. "Clarinet." In Wind Talk for Woodwinds. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195329186.003.0003.

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Abstract Acoustical Properties: The acoustical and physical tonal characteristics of an instrument that affect its sound quality. The clarinet is cylindrical, made of wood (sometimes plastic or metal), and has a key design similar to other wood-wind instruments. Tone is produced by the vibration of a single reed attached to a mouthpiece. These design characteristics result in a sound that accentuates odd partials (1, 3, 5, and so on). For this reason, the clarinet overblows the twelfith rather than the octave when the register key is depressed. For example, the Fingering that produces a middle
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Rice, Albert R. "Origins." In The Baroque Clarinet. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198161882.003.0001.

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Abstract The word ‘clarinet’ was classified by Hornbostel and Sachs (1914) as a generic term for all pipes, usually made of cane, in which the sound is produced through the vibration of a single reed which is either cut from the pipe itself (idioglot) or produced separately and attached to a mouthpiece (heteroglot) (NGDMI ‘Reed instruments’; Sachs 1930: 338). This book includes the further stipulation that the clarinet is an instrument which overblows, functionally, at the interval of a twelfth above the fundamental notes (NGDMI ‘Overblowing’). These two characteristics-the production of sound
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Rice, Albert R. "Playing Techniques of the Baroque Clarinet." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0004.

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This chapter discusses the earliest published sources on playing the two- and three-key clarinets written by Majer (1732), Eisel (1738), Berg (1782), and an anonymous writer (ca. 1810). The topics covered by these authors are compass, reed position, embouchure, articulation, hand position, fingerings, clefs, and makers’ stamps. Other authors cited who write about the clarinet are Walther (1732), Diderot and d’Alembert (1753), Roeser (1764), Miklin’s letter to Hülphers (1772), Vanderhagen (1785), Lefèvre (1802), Backofen (ca. 1803), Fröhlich (1811–1812), and Willman (1826). A mezzotint (ca. 175
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Rice, Albert R. "Baroque Clarinet in Society." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0006.

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The evidence for the acceptance and use of the Baroque clarinet in 18th-century society is discussed: in iconographical representations (engravings, paintings, etchings, mezzotints, stucco); by traveling musicians (August Freudenfeld, Francis Rosenberg, Mr. Charles); in court and aristocratic music (Stuttgart, Rastaat, Koblenz, Merseburg, Berleburg, Gotha, Karlsruhe, Mainz, Rudolstadt, Cologne, Paris, Olmütz, Darmstadt, Würzburg, Zweibrücken); in church and civic music (Nuremberg, Venice, Antwerp, Kremsmünster, Greiz, Kempten, London, Frankfurt, Salzburg, Schlosshof, Marienberg); and military
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Conference papers on the topic "Clarinet"

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Levy, Rafi, David Blaauw, Gabi Braca, et al. "ClariNet." In the 37th conference. ACM Press, 2000. http://dx.doi.org/10.1145/337292.337400.

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Xu, Ning. "Clarinet Teaching Management Reform in Universities under the Background of Clarinet Competition." In 2020 International Symposium on Advances in Informatics, Electronics and Education (ISAIEE). IEEE, 2020. http://dx.doi.org/10.1109/isaiee51769.2020.00015.

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Magalhães, Tairone N., and Mauricio A. Loureiro. "Training a convolutional neural network for note onset detection on the clarinet." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19426.

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Although computational models for note onset detection have improved drastically in the last decade, mainly due to the advances brought by the field of Deep Learning, such models have not been perfected yet. When dealing with specific data, like clarinet recordings, those models still produce a significant number of false positives and negatives. In this paper, we evaluate pre-trained onset detection models from the library madmom on a dataset composed of solo clarinet recordings, in particular, to investigate their performance on this kind of data. Moreover, we use the clarinet dataset to tra
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Travasso, Rui. "MAD Clarinet 2.1.: Sound Travels." In 2022 Third International Conference on Digital Creation in Arts, Media and Technology (ARTeFACTo). IEEE, 2022. http://dx.doi.org/10.1109/artefacto57448.2022.10061246.

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Hou, Changzhi, and Marina Chernaya. "Training Clarinet Players in Contemporary China." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.326.

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Zhang, Yiyang, Feng Liu, Zhen Fang, Bo Yuan, Guangquan Zhang, and Jie Lu. "Clarinet: A One-step Approach Towards Budget-friendly Unsupervised Domain Adaptation." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/350.

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In unsupervised domain adaptation (UDA), classifiers for the target domain are trained with massive true-label data from the source domain and unlabeled data from the target domain. However, it may be difficult to collect fully-true-label data in a source domain given limited budget. To mitigate this problem, we consider a novel problem setting where the classifier for the target domain has to be trained with complementary-label data from the source domain and unlabeled data from the target domain named budget-friendly UDA (BFUDA). The key benefit is that it is much less costly to collect comp
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Wang, Yixin, Xiaohong Guan, Youtian Du, and Nan Nan. "Harmonics Based Representation in Clarinet Tone Quality Evaluation." In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9054020.

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"Research on the Music Style of Clarinet Performance." In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.43.

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Plescan, Irina. "Compositional peculiarities of The trio for clarinet, French horn and piano by Oleg Negruta." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.11.

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Oleg Negruta is a Moldovan composer, the author of a large number of chamber- instrumental compositions. Among them there are two piano trios: the first is the Trio for clarinet, French horn and piano, reflecting the tendency towards non-traditional ensembles, that prevailed in Moldovan music in the 1980-90s, and in 2004 the composer created a trio for the classical composition — violin, cello, piano.This article is dedicated to the Trio for clarinet, French horn and piano written in 1993. The author’s purpose was to identify the interpretation peculiarities of this work’s composition. Within
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Sterling, Mark, Xiaoxiao Dong, and Mark Bocko. "Representation of solo clarinet music by physical modeling synthesis." In ICASSP 2008 - 2008 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2008. http://dx.doi.org/10.1109/icassp.2008.4517563.

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Reports on the topic "Clarinet"

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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a
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