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Relevant bibliographies by topics / Clarinet music

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Dissertations / Theses

Academic literature on the topic 'Clarinet music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Dissertations / Theses on the topic "Clarinet music"

1

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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2

Earle, Shawn Hubert. "Canadian clarinet music as multicultural action." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/55874.

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Despite the wealth of Canadian clarinet repertoire, most of the existing studies focus only on pedagogy for student performers. Its significance and merit can better be understood, however, by considering its cultural context, especially through the perspective of Canadian identity. Canada’s social framework directly impacts its musical output and reflects Canada’s core values, especially multiculturalism, which became government policy in 1971. Using multiculturalism as a focal point for examining Canadian clarinet repertoire, this study explores the ways in which music performance is a multicultural action rather than simply stating the fact of social pluralism. From a list of Canadian clarinet works reflecting multiculturalism, selected works have been chosen for detailed study. Empty Sky by Elliot Weisgarber, Sitpatsimoyi by Robert Rosen, Anerca II by Milton Barnes, and Between the Shore and the Ships by Derek Charke are four Canadian works which use the clarinet as a solo instrument and reflect the ethnocultural groups the Canadian Multiculturalism Act accommodates: immigrants, First Nations, and French-speaking people. Selected works are examined from contextual and musical perspectives for representations of ethnocultural identity. Likewise, performance decisions are discussed revealing how performance is a multicultural gesture requiring musical, contextual, and social analysis. The evaluation of these factors are consolidated into performance which musically illustrates an understanding and sensitivity to ethnocultural accommodation and comments on social issues making each performance a multicultural action.<br>Arts, Faculty of<br>Music, School of<br>Graduate

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3

Capra, Carlos Augusto. "Music for clarinet by Argentinean composers /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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4

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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5

Redshaw, Jacqueline. "Chamber Music for the E-Flat Clarinet." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194436.

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This work will examine chamber works involving up to 12 players which include the E-flat soprano clarinet. Doubling parts, defined as B-flat and E-flat clarinet on one part for one performer, will be included only if the E-flat clarinet is present for one or more entire movements. The intent is to show that this lesser-known repertoire includes numerous and varied works which are both unique and distinctive.No extant literature on this subject is currently available. The importance of playing auxiliary instruments cannot be emphasized enough as competition and demand increase in today's professional performing climate; therefore, I believe the subject to be of value as a source for those performers who wish to broaden their knowledge of the literature and increase their career viability. It is hoped that this paper will become a vital addition to the store of clarinet repertoire which is catalogued at this time.The examination of this music will be primarily from a performance perspective, and will include in-depth discussion of the points of interest and challenges of the most prominent works. Included is an annotated bibliography, providing a complete list of the repertoire with brief synopses. Detailed background information will also be presented, delving into such areas as composers' inspiration (why choose the E-flat clarinet?), their other works of the same period, premiere performances and possible dedicatees, and other significant influences.

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6

Bellomy, Christine M. "The clarinet chamber music of Phyllis Tate." Diss., University of Iowa, 2004. https://ir.uiowa.edu/etd/4554.

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7

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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8

Heim, Matthew David. "Trio for Clarinet, Viola, and Piano." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155752522.

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9

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 modulations cause the the harmony to move further and further away from equal temperament. The third movement features a tonal centre, in relation to which harmonies become progressively more complex. Throughout the piece, the electronics are used to help realize the mictrotonal harmonic structures by diffusing precisely tuned pitches for the intrumentalists to tune to.<br>Ce concerto pour clarinette, Mitya, est une composition pour clarinette solo, grand ensemble et électroniques. L'idée principale de la pièce est d'examiner trois conceptions harmoniques utilisant l'intonation juste étendu (gamme naturelle). Mitya est en trois mouvements. Chaque mouvement est défini par une tonalité et un système harmoni que différent. Le premier mouvement a comme note centrale un La, joué par la clarinette pendant tout le mouvement. Les harmonies aparraissent et disparraisent autour de ce La, y conférant ainsi plusieurs fonctions harmoniques. Le deuxième mouvement est une passacaille dont le thème module à la tierce majeure naturelle ascendante à chaque itération. Ces modulations non-tempérées font que la musique s'éloigne progressivement du tempérament égale. Le troisième et dernier mouvement se concentre sur un Ré comme note centrale. En relation avec ce Ré, les harmonies deviennent de plus et plus complexes. Tout au long de la pièce, les électroniques servent à réaliser des structures harmoniques non-tempérées sur lesquelles les musiciens pourront accorder précisement leurs microtons.

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10

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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