Log in

Relevant bibliographies by topics / Clarinet music / Dissertations / Theses

To see the other types of publications on this topic, follow the link: Clarinet music.

Dissertations / Theses on the topic 'Clarinet music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Clarinet music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

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/.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Rice, Albert R. "A History of the Clarinet to 1820." Scholarship @ Claremont, 1987. http://scholarship.claremont.edu/cgu_etd/106.

Full text

Abstract:

This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.

APA, Harvard, Vancouver, ISO, and other styles

12

Ellsworth, Jane Elizabeth. "The clarinet in early America, 1758-1820." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101894710.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Curlette, William Bruce. "New music for unaccompanied clarinet by Soviet composers /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487693923198808.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Adamcyk, David. "Balbuzard : for solo clarinet, wind symphony and electronics." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111504.

Full text

Abstract:

Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of several rhythmic strata whose pitches, mainly part of diatonic, octatonic or chromatic collections, followed the contour of the entered shape. With this visual process, it was also possible to explore the creation of contrapuntal textures by entering diagrams of lines representing the path of each contrapuntal voice.*<br>*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.

APA, Harvard, Vancouver, ISO, and other styles

16

Harbaugh, Justin Martin. "The Clarinet B.C. program notes for a masters clarinet recital of works of Brahms’ clarinet trio, Francaix’s Tema con Variazioni, Muczynski’s Time Pieces, and Carter’s Gra and Hiyoku." Kansas State University, 2009. http://hdl.handle.net/2097/1410.

Full text

Abstract:

Master of Music<br>Department of Music<br>Kelvin T. Kerstetter<br>This study provides a stylistic and structural analysis of Brahms's Trio for Piano, Clarinet, and Cello Op. 114, Francaix's Tema con Variazioni (1974), Muczynski's Time Pieces (1984), Carter's Gra, for solo clarinet (1993), and Hiyoku, for two clarinets (2001). One chapter is devoted to each piece. The composer's biographical information is presented, in addition to harmonic and structural analyses of each piece. Performance considerations and a stylistic guide are documented to aid in the performance of these works. Other vital information such as date of completion, premiere, dedication or commission information, and publication information are presented.

APA, Harvard, Vancouver, ISO, and other styles

17

LOBATO, JUAN ALEJANDRO. "CLASSICAL TO FLAMENCO CLARINET : HOW TO APPROACH FLAMENCO FROM A CLASSICAL PERSPECTIVE?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4176.

Full text

Abstract:

About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition.This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project.The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future.<br><p>Inspelningen av konserten startar efter några minuter.</p>

APA, Harvard, Vancouver, ISO, and other styles

18

Lobato, Juan Alejandro. "Classical to flamenco clarinet : How to approach Flamenco from a classical perspective?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4185.

Full text

Abstract:

About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition.This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project.The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future.<br><p>Inspelningen av konserten startar efter några minuter.</p>

APA, Harvard, Vancouver, ISO, and other styles

19

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Gay, Fernández Carlos. "Jazz influence on classical clarinet : Analysis and identification of jazz elements in classical clarinet repertoire in the 20th century." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2384.

Full text

Abstract:

This thesis is about jazz influence on classical clarinet repertoire, focusing on analysis and identification of all the jazz elements that run through this style into classical music. It also wants to describe the huge change of way of playing noticeable in the Swing Era in relation to the classical way.In the first part of the thesis I describe the birth of jazz and the political, historical and musical situation in the West, to understand the process in which they got blended. After that I identify and classify jazzy elements in classical music, analyzing in depth the repertoire of my exam-concert, which is strongly influenced by this style, and in a more superficial way other influenced classical clarinet works as well. I show in the very last part of the thesis how this influence is reflected, classifying these elements in harmonic, melodic, written and rhythmical ones.

APA, Harvard, Vancouver, ISO, and other styles

21

Steltzner, Becky L. "The history of the clarinet in South Africa." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.

Full text

Abstract:

This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.

APA, Harvard, Vancouver, ISO, and other styles

22

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Araújo, Daniel Souza de. "“A Vida Pela Flor” para clarineta e banda de Joaquim Antônio Langsdorf Naegele: uma proposta interpretativa." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/4298.

Full text

Abstract:

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-03-16T21:29:03Z No. of bitstreams: 8 Dissertação - Daniel Souza de Araújo - 2013 - Parte 01.pdf: 17703763 bytes, checksum: f805f389c15f683557bce031d152f30b (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 02.pdf: 10535608 bytes, checksum: 2df9f642c2c87de10817d13779a5324e (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 03.pdf: 10142806 bytes, checksum: de38ad20cadff80ee41a31c516b507d8 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 04.pdf: 15421120 bytes, checksum: e929f207ed728c0393e6d8623f118181 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 05.pdf: 17568489 bytes, checksum: 155c0f2e8a77ae9e4292b339b589eb45 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 06.pdf: 17790295 bytes, checksum: e9d73b451ec74caa470f2880075d9368 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 07.pdf: 14478837 bytes, checksum: bdaa236d5715256eebaaa2e892002b7b (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-03-16T21:30:18Z (GMT) No. of bitstreams: 8 Dissertação - Daniel Souza de Araújo - 2013 - Parte 01.pdf: 17703763 bytes, checksum: f805f389c15f683557bce031d152f30b (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 02.pdf: 10535608 bytes, checksum: 2df9f642c2c87de10817d13779a5324e (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 03.pdf: 10142806 bytes, checksum: de38ad20cadff80ee41a31c516b507d8 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 04.pdf: 15421120 bytes, checksum: e929f207ed728c0393e6d8623f118181 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 05.pdf: 17568489 bytes, checksum: 155c0f2e8a77ae9e4292b339b589eb45 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 06.pdf: 17790295 bytes, checksum: e9d73b451ec74caa470f2880075d9368 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 07.pdf: 14478837 bytes, checksum: bdaa236d5715256eebaaa2e892002b7b (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2015-03-16T21:30:18Z (GMT). No. of bitstreams: 8 Dissertação - Daniel Souza de Araújo - 2013 - Parte 01.pdf: 17703763 bytes, checksum: f805f389c15f683557bce031d152f30b (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 02.pdf: 10535608 bytes, checksum: 2df9f642c2c87de10817d13779a5324e (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 03.pdf: 10142806 bytes, checksum: de38ad20cadff80ee41a31c516b507d8 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 04.pdf: 15421120 bytes, checksum: e929f207ed728c0393e6d8623f118181 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 05.pdf: 17568489 bytes, checksum: 155c0f2e8a77ae9e4292b339b589eb45 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 06.pdf: 17790295 bytes, checksum: e9d73b451ec74caa470f2880075d9368 (MD5) Dissertação - Daniel Souza de Araújo - 2013 - Parte 07.pdf: 14478837 bytes, checksum: bdaa236d5715256eebaaa2e892002b7b (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-04-25<br>This work is a proposed interpretative work for clarinet and Brazilian music band concert entitled "A Vida pela Flor" written by the conductor and composer Antônio Joaquim Langsdorf Naegele. Naegele had three of his compositions published by FUNARTE. The music "A Vida pela Flor" is atypical for making use of a fantasy within the context of repertoire for band. Its structure is divided into: Introduction, 1st theme with two variations, 2nd theme with five variations and codetta, differing from the simple structure of most works focused for band, like march, polkas, mazurkas, waltzes, among others. "A Vida pela Flor" stands out for its virtuosity, if taken into account that at the time was run by an instrument with fewer technical resources (Müller System - 13 keys), a remarkable fact. The piece has simple sentences, but with great richness of technique: scales, arpeggios, leaps between different registers of the clarinet, and variation of articulation. Such sentences, or fragments of them, are comparable to those found in the exercises in the "Complete Method for Clarinet" by Elenore Hyacinthe Klosé (1808-1880) which makes us believe that divulging this work will enrich the clarinet repertoire. Knowing that this work is not well divulged among teachers, composers and clarinetists, this study may arise interest to demonstrate the cultural richness that it may bring to our context.<br>Este trabalho delineia uma proposta interpretativa da obra brasileira para clarineta e banda musical de concerto, intitulada “A Vida pela Flor” e escrita pelo maestro e compositor Joaquim Antônio Langsdorf Naegele. Naegele teve três de suas composições publicadas pela FUNARTE. A música “A Vida pela Flor” é atípica por fazer uso da fantasia dentro do contexto de repertório para banda. Sua estrutura é dividida em: introdução, 1º. tema com duas variações, 2º. tema com cinco variações e codeta, diferenciando-se da estrutura simples da maioria das obras voltada para banda, como os Dobrados, Polcas, Mazurcas, Valsas, entre outras. Destaca-se pela virtuosidade, se levado em conta que na época foi executada por instrumento com menos recursos técnicos (Sistema Müller – 13 chaves), fato esse notável. Ela possui frases simples, porém com grande riqueza técnica baseada em: escalas, arpejos, saltos entre os diversos registros da clarineta e variação de articulação. Tais frases, ou fragmentos delas, são comparáveis aos exercícios encontrados no “Método completo para clarineta” de Hyacinthe Elénore Klosé (1808-1880), o que nos faz acreditar que a divulgação dessa obra enriquecerá o repertório da clarineta. Por entender que a peça é pouco conhecida entre os maestros, professores e clarinetistas, este estudo pode despertar o interesse desses profissionais em conhecer essa obra, o compositor e a riqueza cultural que esse contexto trás.

APA, Harvard, Vancouver, ISO, and other styles

24

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.

Full text

Abstract:

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 Artística de Música do Conservatório Nacional com o orientador cooperante Luís Gomes, e a segunda, à investigação sobre o tema anteriormente referido. A análise dos programas e dos dados recolhidos apontam para uma importante lacuna no que diz respeito à abordagem de obras contemporâneas no ensino do clarinete em Portugal, facto esse que tem um impacto negativo na atividade dos instrumentistas; Abstract: Supervised Teaching Report held at Escola Artística de Música do Conservatório Nacional: Contemporary Music in the teaching of the clarinet in Portugal The object of study in the presente work is the approach to contemporary music in the offical clarinete courses in Portugal. This work intends to study the impact of that approach in the learning process has in the development of the musicians and their profession. This report is organized in two distinct parts, the first one referring to the supervised teaching practise held at the Escola Artística de Música do Conservatório Nacional with the cooperating advisor Luís Gomes, and the second, to the research on the subject previously mentioned. The analysis of the programs and data collected points to an importante gap regarding the approach of contemporary works in the teaching of clarinet in Portugal, which has a negative impact in the activity of the performers.

APA, Harvard, Vancouver, ISO, and other styles

25

Rolf, Sheri Lynn M. D. "The Structure and Movement of Clarinet Playing." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523454235538941.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Hadfield, Karen. "Mannheim and the clarinet : the Palatine Court's contribution to the development of the clarinet as an orchestral instrument /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19322.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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/.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

28

Cifelli, Cheryl. "A Study of Selected Clarinet Music of Brian Israel." Thesis, University of North Texas, 2004. http://wwwlib.umi.com/dissertations/fullcit/3144977.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Rothenberg, Florie. "Music for clarinet and string quartet by women composers." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

Full text

Abstract:

This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.

APA, Harvard, Vancouver, ISO, and other styles

30

Wilson, Teresa Delaine. "The measured upstream impedance for clarinet performance and its role in sound production /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11224.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Danard, Rebecca J. "Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321368757.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

DELL, AMANDA PROCTOR. "THE CLARINET IN THE VOCAL CHAMBER MUSIC OF ANTON WEBERN." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1108347266.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Bohlin, Stina. "Meaningless movement or essential expression : A study about gestures." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85247.

Full text

Abstract:

The thesis investigates how body movements influence a musical performance, with the aim to reach a more expressive performance by an increased awareness of gestures. In the study, three versions of the same clarinet piece were recorded on video; one with me, one with my clarinet teacher and one with a fellow clarinet student. The study addresses the following research questions: - How do body movements correspond to musical intentions? - How are my gestures formed and influenced by my teachers’ gestures? - In what ways can a raised awareness of gestures affect my musical performance? The videos were coded and analysed using open coding. As a reference, each clarinettist notated their intended phrasing in the score. This was marked as phrases (slurs) and Goal Points, and was also annotated in ELAN. With the intention to answer the first research question, the body movements were compared with the performers intended phrasing. In order to answer the second research question, coded sequences from each performance were compared with each other to find similarities and differences, using both quantitative and qualitative methods. Finally, I recorded a second performance of the same piece to investigate whether awareness of gestures affected my performance. Results align with previous research and indicate that body gestures are unique for each performer and connected to musical intentions. Results also indicate a resemblance in movement patterns between my teacher’s performance and my own, suggesting that gestures can be transferred from teacher to student.

APA, Harvard, Vancouver, ISO, and other styles

34

Vieira, Taís Vilar. "“Cenas Cariocas, 2ª suíte” para clarineta e piano de Guerra Vicente: um estudo interpretativo." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4135.

Full text

Abstract:

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-02-09T18:23:59Z No. of bitstreams: 2 Dissertação - Taís Vilar Vieira - 2014.pdf: 3009615 bytes, checksum: 424c1ea05c5b36490f48d350ff6d2131 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-02-09T18:25:18Z (GMT) No. of bitstreams: 2 Dissertação - Taís Vilar Vieira - 2014.pdf: 3009615 bytes, checksum: 424c1ea05c5b36490f48d350ff6d2131 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2015-02-09T18:25:18Z (GMT). No. of bitstreams: 2 Dissertação - Taís Vilar Vieira - 2014.pdf: 3009615 bytes, checksum: 424c1ea05c5b36490f48d350ff6d2131 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-31<br>This work has as its object of study the piece "Cenas Cariocas, 2ª Suíte" for Bb clarinet and piano. José Guerra Vicente (1906-1976), a Portuguese composer that became a Brazilian citizen, wrote this piece in 1964, during his nationalist phase. The main objective of this research is to offer an interpretive discussion of the work, focusing on the clarinet part. Historical, structural and technical aspects are addressed. The methodology has included a literature review, an analysis of the work, interviews and questionnaires. As a result, information that may bring contributions to the construction of interpretations of the version for clarinet and piano work are presented.<br>Este trabalho tem como objeto de estudo a obra “Cenas Cariocas, 2ª Suíte” para clarineta em Si bemol e piano. José Guerra Vicente (1906-1976), compositor português naturalizado brasileiro, escreveu esta obra em 1964, durante sua fase nacionalista. O objetivo principal desta pesquisa é realizar uma discussão interpretativa da obra, com foco na parte de clarineta. São abordados aspectos históricos, estruturais e técnicos. A metodologia adotada incluiu revisão de literatura, análise da obra, entrevistas e questionários. Como resultado, são apresentadas informações que poderão trazer contribuições na construção de interpretações da versão para clarineta e piano da obra.

APA, Harvard, Vancouver, ISO, and other styles

35

Ellsworth, Jane Elizabeth. "Clarinet Music by British Composers, 1800-1914: A Repertorial Survey." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392140520.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Simon, Karem Joseph. "Historical and performance perspectives of clarinet material performed in a thesis recital." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26038.

Full text

Abstract:

This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture in a more detailed and extensive account. A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2. Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works. Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A. Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice. Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression.<br>Arts, Faculty of<br>Music, School of<br>Graduate

APA, Harvard, Vancouver, ISO, and other styles

37

BERN, ALAN SETH. "SIDEWAYS." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1145547580.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Becker, Daniel. "The Clarinet-Percussion Duo in the 21st Century: A Survey and Discussion of Works from 2000 to July 2015." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613374.

Full text

Abstract:

Clarinet-percussion duos, music for one clarinetist and one percussionist, are a relatively new addition to the world of chamber music - the first work for this instrumentation was written in 1958. Throughout the second half of the 20th century, however, the genre became increasingly more popular, boasting at least 260 works before the year 1990, and dozens more between 1990 and 2000. After 2000, the genre managed to become an even larger branch of chamber music by adding at least 137 new works. Additionally, many performers dedicated solely to the grouping began to arise even before the end of 2015.This study explores the many facets of the clarinet-percussion duo that are making it a successful genre in the 21st century. It initially briefly examines the history of the clarinet-percussion duo prior to the year 2000 to provide the reader with essential background on the genre. Second, it includes a detailed survey of all clarinet-percussion duos the author was able to locate written since the year 2000, examining how the genre has grown over time in terms of compositional style and techniques, instrumentation, and national origin of the composers of the duos. Third is an overview of the growing number of clarinet-percussion performing duos and their effect on the genre in terms of commissioning works for the grouping and generating greater public exposure to the genre. The final section of the study is a set of discussions of five specific works from the genre, each detailing how the work is unique among others yet remains a key component of the clarinet-percussion oeuvre.

APA, Harvard, Vancouver, ISO, and other styles

39

Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Costa, Anthony J. "A bibliography of chamber music and double concerti literature for oboe and clarinet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117551575.

Full text

Abstract:

Thesis (Ph.D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center

APA, Harvard, Vancouver, ISO, and other styles

41

Smith, Katherine Ann. "The virtuoso performer-composer: Brigid Burke's contribution to the clarinet repertoire." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0048.

Full text

Abstract:

This thesis takes as its broad area of study the solo instrumental music produced since 1960 by the virtuoso performer-composer, and focuses on the works of Australian clarinettist and composer Brigid Burke. The 1960's in music was a decade like no other; the effects of serialism and indeterminacy, the rise of electronic music, and the general climate of experimentation resulted in an explosion of new musical ideas and compositional approaches. One development of this period was the growth of a musician type new to the twentieth century: the virtuoso performer-composer. Brigid Burke (1960- ) is a clarinet soloist, visual artist and a composer of over one hundred works. The majority of Burke's compositional output comprises works for clarinet. In writing almost exclusively for the clarinet, the instrument of which she is a national and international performer, Burke can be viewed as continuing the virtuoso performer-composer trend emanating from the 1960's. The aim of this thesis is to investigate the extent to which Burke's clarinet works represent a unique voice in the international and Australian contemporary clarinet repertoire. Four of Burke's works were chosen for study: Three Sounds on Buildings 2 (2005),

APA, Harvard, Vancouver, ISO, and other styles

42

Gomes, Catarina Vieira. "Relatório de prática de ensino supervisionada realizada no Orfeão de Leiria - Conservatório de Artes: guia prático para a aprendizagem inicial do clarinete." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/27639.

Full text

Abstract:

O objeto de estudo do presente trabalho é a criação do primeiro método de iniciação ao clarinete em português com melodias tradicionais e populares portuguesa. Este trabalho pretende dar um contributo para o ensino do clarinete em Portugal, bem como criar uma ferramenta didática de apoio ao discente de clarinete. O relatório encontra-se organizado em duas partes distintas, sendo a primeira referente à Prática de Ensino Supervisionada realizada na Escola de Música do Orfeão de Leiria – Conservatório de Artes, com o professor cooperante Luís Casalinho, e a segunda, à investigação sobre o tema anteriormente referido; Abstract - Supervised Teaching Report held at Orfeão de Leiria – Conservatório de Artes: Pratical guide for the initial learning of the clarinet The object of study in the present work is the creation of the first method in Portuguese for the initiation to the clarinet, with excerpts from Portuguese traditional and popular music. This work aims to contribute to the teaching of the clarinet in Portugal, as well as to create a didactic tool to support the clarinet student. This report is organized in two distinct parts, the first one referring to the supervised teaching practise held at Orfeão de Leiria – Conservatório de Artes with the cooperating advisor Luís Casalinho, and the second, to the research on the subject previously mentioned.

APA, Harvard, Vancouver, ISO, and other styles

43

Marshall, Adrienne Marie. "The Clarinetist’s Guide to the Performance of the Clarinet, Viola, and Piano Trios by Mozart, Bruch, and Larsen." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366379914.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Beere, Justin. "Developing Solo and Chamber Repertoire for the E-flat Clarinet by Australian Composers." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/365735.

Full text

Abstract:

This research project seeks to actively develop solo and chamber music repertoire for the E- flat clarinet by Australian composers. To achieve this the researcher instigated the formation of six new works written by notable and lesser-known emerging Australian composers currently working or studying in Australia. It is the intention that this research will gain greater insight into how selected contemporary Australian composers write for the E-flat clarinet. Australian composers Paul Dean, Peter de Jager, Paul Kopetz and Matthew Laing all very generously supported the project by providing new compositions. In addition to this, and in an attempt to generate a greater national awareness, the project created a national composition competition for emerging tertiary composers, sponsored by the Queensland Clarinet and Saxophone Society. With the addition of a composition written by the researcher, the initiative culminated in a performance at the Australian National Academy of Music in Melbourne, Australia on the 31st of November 2014. The information presented in this research document outlines insights and thoughts acquired from the works created and the researcher’s collaboration with each composer, performance preparations and personal discoveries, semi-structured interviews, the direction of a national composition competition and general project co-ordination. This project is merely a starting point for what the researcher intends to build upon well into the future, providing a healthy resource of music for E-flat clarinet enthusiasts to draw upon pedagogically and on the concert platform.<br>Thesis (Masters)<br>Master of Music (MMus)<br>Queensland Conservatorum<br>Arts, Education and Law<br>Full Text

APA, Harvard, Vancouver, ISO, and other styles

45

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

46

Davis-McKay, Vanessa. "A Concept-Based Pedagogy Approach to Selected Unaccompanied Clarinet Repertoire." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248446/.

Full text

Abstract:

While unaccompanied music encompasses an ever increasing portion of clarinet literature, it comprises a comparatively small percentage of music performed. However, study of unaccompanied repertoire provides a valuable pedagogical bridge between etudes and accompanied music that is abundant with opportunity to address larger universal musical concepts, rather than repertoire-specific solutions. This dissertation demonstrates the application of concept-based pedagogy to selected unaccompanied clarinet repertoire of five different ability levels. Using principals of concept-based pedagogy, each work is broken down to its component technical and expressive parts in order to address larger musical concepts. Three to five exercises addressing each work's technical and expressive challenges are provided and explained.

APA, Harvard, Vancouver, ISO, and other styles

47

Webb, Clare Louise. "An annotated catalogue of selected works for clarinet by South African composers." Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8030.

Full text

Abstract:

The dissertation consists of an annotated catalogue of nineteen selected works for clarinet by South African composers. These are presented in chronological order, based on the year of composition. A short biographyof the composer is given before the work is discussed. Of the analysed works, all those for solo clarinet or for clarinet and piano have been graded. A thesis of a similar nature, written in 1989 by L.A. Hartshorne, entitled ""The Compositions for Clarinet by South African Composers"", contains details of twenty-four works written between 1928 and circa 1981. The majority of the compositions analysed in the current dissertation were written from around 1981 onwards, and to some extent, therefore, this research could be seen as complementary to the information contained in the aforementioned thesis. An addendum lists all the South African works featuring solo clarinet that the author was able to trace. These include solo works, cham ber works for up to nineteen instruments and concerto-type works with strings or orchestra.

APA, Harvard, Vancouver, ISO, and other styles

48

Smith, Mary Margaret. "The Swing Era Clarinetists and Their Contributions to Twentieth-Century Clarinet Repertoire." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291011109.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

McCann, Amy E. "Aspects of The Ploger Method(TM) Applied to the Mozart Clarinet Concerto." Thesis, West Virginia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3605850.

Full text

Abstract:

<p> This paper examines the process of applying portions of the Ploger Method™ to the interpretation and performance of the Mozart Concerto for Clarinet. Wolfgang Amadeus Mozart's <i>Concerto</i> for Clarinet K. 622 is one of the most significant works in the clarinet repertoire. Not only is it one of the earliest concertos written for clarinet, but even hundreds of years after its composition it still offers students, teachers, and performers many technical challenges as well as opportunities for individual musical expression. It is also one of the most requested concertos on professional auditions for performing and teaching positions. Because of the significance of this piece, it is extremely important for any professional clarinetist to have a thorough understanding of the theoretical, technical, and musical aspects involved in the performance of the work. </p><p> Marianne Ploger has developed a technique for teaching musicianship that incorporates written and aural theory, performance psychology, and a unique understanding of how the human brain perceives musical sounds that can be particularly useful to performers. She developed her method through her work as a student of Nadia Boulanger, as a founder of the Institute for Musical Perception in Ann Arbor, Michigan, as a faculty member at the University of Michigan, and now at the Blair School of Music at Vanderbilt University.</p>

APA, Harvard, Vancouver, ISO, and other styles

50

Gozdan-Bynum, Heather. "The clarinet works of Joseph Horovitz: An analysis of his compositional style." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/366.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!