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Dissertations / Theses on the topic 'Clarinet sonatas'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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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

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.

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3

Perevertailenko, Dmytro Olexandrovich. "The Unpublished Works for Clarinet by Alexander Grechaninov: Preparing a Performance Edition of the Sonata No. 1 for Clarinet and Piano, Op. 161." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9052/.

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Alexander Grechaninov was one of the most important composers of the late Russian Romantic School. By the second half of the twentieth century he remained one of the few living composers who continued the traditions of the great Russian Romantic masters, such as Tchaikovsky and Rimsky-Korsakov. He is primarily known for his liturgical works, which are truly masterpieces of this genre. Because many of his instrumental works remain unpublished, particularly the chamber works, they continue to be undeservedly ignored in the concert hall. Grechaninov's unpublished works for clarinet include Septet for Clarinet, Bassoon and String Quintet, Op. 172a, Serenade for Clarinet and String Orchestra (without opus number), and Sonata No. 1 for Clarinet and Piano, Op. 161. This project not only brings to light Grechaninov's unpublished clarinet works, but also emphasizes the importance of his published clarinet pieces which have to date been forgotten, especially in the United States. The writer prepares a performance edition of the Sonata No. 1, Op.161 from Grechaninov's original autograph manuscript which is held in the New York Public Library's Toscanini Archives. After a brief introduction, the document describes Grechaninov's biography, including his historical and societal background, compositional growth throughout his career, and outside influences to which he would have been exposed (Chapter 2). Chapter 3 discusses in details Grechaninov's compositional output and distinct features of his style. Chapters 4 and 5 discuss the published and unpublished works for clarinet by Grechaninov. Chapter 6 provides a detailed structural and tonal analysis of the Sonata No. 1, Op. 161 and discusses the process of editing. Included in the appendices are: performance edition of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and clarinet part); photocopy of the original autograph manuscript of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and viola part); photocopy of the original autograph manuscript of the Septet for Clarinet, Bassoon and String Quintet, Op. 172a; and photocopy of the original autograph manuscript of the Serenade for Clarinet and String Orchestra, without opus number.

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4

Cruz, Rachel Yvonne. "An investigation and analysis of Shulamit Ran's Apprehensions for voice, clarinet, and piano /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983123.

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5

Lee, Kyungju. "An analysis and comparison of the clarinet and viola version of the two sonatas for clarinet (or viola) and piano OP. 120 by Johannes Brahms." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1100760484.

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LEE, KYUNGJU. "AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSIONS OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP 120 BY JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100760484.

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7

Lin, Sheng-Hsin. "Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849742/.

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David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles. The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).

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8

Minor, Janice L. "Were they truly neoclassic? A study of French neoclassism through selected clarinet sonatas by "Les Six" composers Arthur Honegger, Germaine Tailleferre, Darius Milhaud, and Francis Poulenc /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1092930641.

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MINOR, JANICE LOUISE. ""WERE THEY TRULY NEOCLASSIC?" A STUDY OF FRENCH NEOCLASSICISM THROUGH SELECTED CLARINET SONATAS BY "LES SIX" COMPOSERS: ARTHUR HONEGGER, GERMAINE TAILLEFERRE, DARIUS MILHAUD, AND FRANCIS POULENC." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092930641.

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10

Wheeler, John E. (John Eby). "The Music for Solo Clarinet by Arnold Cooke: The Influence of Paul Hindemith and a Comparison of the Music for Solo Clarinet by Both Composers: A Lecture Recital, Together with Three Recitals of Selected Works by C. Nielsen, J. Françaix, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331904/.

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This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

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11

Burts, Devon. "An Application of the Grundgestalt Concept to the First and Second Sonatas for Clarinet and Piano, Op. 120, No. 1 & No. 2, by Johannes Brahms." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000456.

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12

Kirby, David. "Francis Poulenc's Sonata for Clarinet and Piano (1962) : reconciling text and act." Thesis, Royal College of Music, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.748632.

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13

Perevertailenko, Dmytro Olexandrovich Grechaninov Aleksandr Tikhonovich. "The unpublished works for clarinet by Alexander Grechaninov preparing a performance edition of the Sonata no. 1 for clarinet and piano, op. 161 /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9052.

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Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 15, 2004, Nov. 7, 2005, Nov. 8, 2006, and Apr. 9, 2008. Includes bibliographical references (p. 207-208).

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Chen, Wen-Mi. "An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363864.

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15

Panatteri, Nicol?s Gervasio. "A m?sica para clarinete e piano de Carlos Guastavino." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20983.

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-07-11T18:12:28Z No. of bitstreams: 1 NicolasGervasioPanatteri_DISSERT.pdf: 3056447 bytes, checksum: 687248ac10671874e4b6fa0ce7f7aa39 (MD5)<br>Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-07-19T20:33:58Z (GMT) No. of bitstreams: 1 NicolasGervasioPanatteri_DISSERT.pdf: 3056447 bytes, checksum: 687248ac10671874e4b6fa0ce7f7aa39 (MD5)<br>Made available in DSpace on 2016-07-19T20:33:58Z (GMT). No. of bitstreams: 1 NicolasGervasioPanatteri_DISSERT.pdf: 3056447 bytes, checksum: 687248ac10671874e4b6fa0ce7f7aa39 (MD5) Previous issue date: 2015-12-15<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES)<br>Carlos Guastavino ? um dos mais destacados compositores argentinos do s?culo XX, dono de um particular estilo composicional que conseguiu encurtar a dist?ncia existente entre a m?sica erudita e folcl?rica na Argentina. Este artigo aborda as pe?as para clarinete e piano do compositor, Tonada y Cueca e a Sonata para clarinete y piano, com o objetivo de informar poss?veis int?rpretes sobre quest?es estil?sticas pr?prias de Guastavino, assim como influ?ncias da m?sica folcl?rica argentina. Este artigo tamb?m procura fornecer ferramentas ao estudo e ? performance destas obras.

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16

Clark, Antoine Terrell. "Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano: A Performance Edition with Commentary." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243869380.

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17

Ritchie, Anthony Damian. "The influence of folk music in Three Works by Béla Bartόk: Sonata No. 1 for violin and piano, Sonata (1926) for piano, and 'Contrasts' for violin, clarinet and piano". Thesis, University of Canterbury. Music, 1986. http://hdl.handle.net/10092/4608.

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It is well known that the compositions of Béla Bartόk are influenced by folk music. Until recently, however, musicologists in the West have treated this aspect of Bartόk's music superficially. By avoiding the folk music influence, their analyses are based on a partial knowledge only of Bartόk and consequently, the conclusions they make are severely limited. The purpose of this study is to delve deeply into the folk music influence on Bartόk's compositional style and to take full account of his ethnomusicological knowledge when analysing his music. In order to do this, I have limited my study to three of Bartόk's works, Sonata No.1 for Violin and Piano (1921), Sonata (1926) for piano and Contrasts for violin, clarinet and piano (1938). These compositions were chosen for three main reasons: first, there is only a relatively small amount written about them to date; second, they represent three different periods in Bartόk's creative life; third, they exhibit a rich variety of folk music sources, not only in terms of genre or nationality, but also in terms of the degree or level of influence. The study is in two parts, together with an introductory section. Part One is concerned with the direct influence of folk music on Bartόk's compositions and includes the imitation of folk genres, vocal and instrumental, and a variety of regions or nationalities. In the works under study, Hungarian folk song is the most prominent resource; this also reflects its foremost position in Bartόk's total output. Although of secondary importance, the instrumental repertoire and idiom has a significant role in all three finales from the Violin Sonata, Piano Sonata and Contrasts. A separate chapter is devoted to the verbunkos idiom in Contrasts, a type of Hungarian art music with roots in folk music. A chapter on the possible influence of the peasants 'sound-world' on Bartόk's style concludes Part One. This term describes the peculiar tonal qualities which Bartόk experienced in folk music. In addition, a section looks at 'mistakes' in the performance of folk music, and Bartόk's imitations of these in his compositions. In Part Two, the indirect influence of folk music is discussed. This concerns general features of Bartόk's style - melody, harmony, tonality, rhythm and form – features that derive from his knowledge of folk music but which do not imitate specific genres or idioms. From intensive analysis of the works under study, it can be concluded that Bartόk's mature compositional language is pervaded with aspects of folk music. This mature language is well displayed in the Piano Sonata and Contrasts (although there are stylistic differences between these two), but in the Sonata No.1 for Violin and Piano (the earliest of the three), a dichotomy still exists between the elements of folk music and art music. In reaching this conclusion, it has been necessary to take into account non-folk influences in Bartόk's music. It has also been essential to examine other theoretical approaches, especially as they pertain to the works under study. Although some concepts and terminology have been adopted from other analysts, I have chosen to work mainly from the music itself rather than follow a particular method of interpretation.

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18

Bland, Justin. "Austro-Bohemian Trumpet Music in the Late Seventeenth Century: Compositional and Performance Techniques Associated with the Prince-Bishop's Court of Kromeriz." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1273675725.

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19

Swanson, Christina Marie. "Adding to the viola repertoire by arranging: A study on methods of arranging music for viola from clarinet, with an original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280389.

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The purpose of this document is to present research on methods of arranging music for viola and piano (or viola and orchestra) from music originally written for clarinet and piano (or clarinet and orchestra). Subjects of research include arrangements made by the composer as well as those made by other arrangers. Principal works studied include the Brahms Clarinet Sonatas Op. 120, Nos. 1 and 2, and the Mozart Clarinet Concerto in A. Examples are also included from other relevant works fitting the criteria. Following the analysis on arranging techniques, I have used knowledge gained from my research to prepare an arrangement for viola of the Saint-Saens Clarinet Sonata in E-flat, Op. 167. Saint-Saens, who wrote no solo music for the viola, wrote many pieces for both the violin and the cello, some of which are standard in the solo repertoire for these instruments. Since there is a dearth of viola music by romantic composers, a Saint-Saens arrangement will help fill a gap in the solo repertoire for the viola. This sonata has qualities that make it an ideal candidate for a successful arrangement for viola. Following this project, I will attempt to publish the arrangement, so that it may be available to violists around the country.

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20

Vilanova, Vinadé Clara. "How Do We Learn a Piece by Heart? : Strategies, experience and reflections." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4131.

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The present work consists of a research of the process of memorizing a music score and performing it with its main goal being to understand which is the better and the most efficient process of learning and memorizing it. The piece that has been chosen for this project is Sonata n.1 op.120 in F minor for clarinet and piano by Johannes Brahms.The project is based on two methods and some strategies made by psychologists and musicians that suggest to do a theoretical analysis of the piece and afterwards, define some points (cues) that will help the musician to remember. The work consists in to apply these strategies in the practice sessions, in lessons with teachers and in concerts and observe if they have been successful. This paper concludes with the results of the practical part and with a discussion about them and about the experience to play the piece.<br><p>Sounding part of the project:</p><p>Johannes Brahms - Sonata n.1 op. 120 in F minor for Clarinet and Piano</p><p></p><p>Clarinet: Clara Vilanova</p><p>Piano: Erik Lanninger</p><p></p><p>The concert took place on May 3rd, 2021 in Nathan Milstein Hall in the Royal College of Music in Stockholm</p>

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21

Miller, Michael Eugene. "Jean-Michel Damase's "Sonate pour Clarinette et Harpe"| A conglomeration of complexity." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10133998.

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<p> Clarinet and harp duets are not performed very often, as the repertoire list is rather meager. They are a product of modernity, with the first significant number of published duets arriving around the turn of the twentieth century, with the piano having already been a very popular partner for the clarinet for 150 years. I have chosen to help solve this problem by providing an analysis of a modern clarinet and harp duet, well known in neither the clarinet nor the harp field. Through an interpretation of Jean-Michel Damase’s <i> Sonate pour Clarinette et Harpe</i>, I focus on the compositional style of Damase to help me provide a deeper understanding of the piece to ultimately bring the clarinet and harp closer to a standard compositional combination. </p><p> In a semiotic interpretation, I use the triadic model of Charles Sanders Peirce (representamen, interpretant, and object) to interpret the sign, which I designate as Damase’s compositional style. The union of these three parts provides meaning to the sign. </p><p> I use the compositional techniques common between various well-known composers and this sonata to conclude that Damase’s style is a conglomeration of these other composers’ styles. In this interpretation I provide an academic foundation for the compositional style of an obscure composer, and I provide a rich understanding of a complex piece that can hopefully inspire others to discover other clarinet and harp duets.</p>

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22

Milovanovic, Biljana. "A Study and Performance Guide to Dennis Kam's Sonata Ibis for Clarinet, Violin, Cello and Piano and a Performance Comparison to Four Earlier Versions of the Work." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/71.

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In 2005, Dennis Kam completed the Sonata Ibis which the ensemble Ibis Camerata premiered at the Festival Miami at the University of Miami that same year. The composition is the last of five versions of the same work, originally written for piano solo. The work was recorded by the Ibis Camerata, on their CD titled Glisten, and released in 2006 on the Albany Records music label. The composition presents an important addition to the existing repertoire for the ensemble of clarinet, violin, cello, and piano. Sonata Ibis is a single movement work not following traditional forms. The work reflects the composer's conscious aim of making works with different versions. One of the issues that this study takes up is the evolution of the Sonata Ibis through all five versions. Analysis of musical materials and techniques used in the Sonata are also a part of the study. One chapter of this paper deals with Dennis Kam's biography. One chapter discusses the formal structure and musical idiom of the work. Performance-related issues from the ensemble and a pianist perspective are discussed in the remaining two chapters.

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23

Le, Roux Johannes H. "Alexander Johnson en Hendrik Hofmeyr : ’n stylbespreking van geselekteerde kamermusiekwerke." Thesis, University of Pretoria, 2014. http://hdl.handle.net/2263/46023.

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The aim of this study is to identify the main differences in compositional style in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three Incantations for flute, clarinet and piano, and Khalagari for flute and piano). After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural elements, it was clear that the two composers’ composition style is different from one another. Differences can be identified under the following main points: form structure, melodic and harmonic content, recurring motives and texture. Hofmeyr makes use of traditional form structures, such as sonata form, ternary form, and theme and variations. Johnson does not use traditional form structures and makes use of free form structures, such as: A1-A2-A3-A4-A5- A6-A7 (second movement from Khalagari), ABABC (third movement from Three Incantations), and A1-A2-B-A3-closing section (first movement from Three Incantations). The first movement from Khalagari is the only movement where references to sonata form can be found. Hofmeyr uses existing modes and scales in his works. Both his Sonata per Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous examples where he makes use of the octatonic scale and the phrygian mode. Examples of the hexatonic scale can be found in the first and second movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord structures are also based on these scales and modes. Alexander Johnson does not use any of the above-mentioned scales, but rather makes use of his own scale (labeled as the “Johnson-scale” in this study). His chord structures are also based on this scale. Hofmeyr does not use themes and motives from other compositions in the three works in this study. He does however combine themes from earlier movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e Pianoforte. Johnson combines motives and themes from other compositions in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study.<br>Thesis (DMus)--University of Pretoria, 2014.<br>tm2015<br>Music<br>DMus<br>Unrestricted

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Welles, Loren. "Master's Thesis Recital (clarinet)." 2012. http://hdl.handle.net/2152/19556.

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Reznik, Yevgeniy. "Doctoral thesis recital (clarinet)." Thesis, 2012. http://hdl.handle.net/2152/24017.

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Introduction and rondo for clarinet and piano / Ch.-M. Widor -- Chromatic fantasy / J. S. Bach -- Sonata for clarinet and piano, op.128 / Mario Castelnuovo-Tedesco -- One of a kind / Mark Phillips.<br>text

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Yang, Yuen-Suo. "Master's thesis recital (clarinet)." 2011. http://hdl.handle.net/2152/17140.

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Huang, Tzuying. "Doctoral thesis recital (clarinet)." 2011. http://hdl.handle.net/2152/16956.

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Second sonata for clarinet and piano / Francois Devienne -- Sequenza IXa for clarinet solo / Luciano Berio -- Peregi verbunk / Leo Weiner -- Sonata, op. 94 for Bb clarinet and piano / Sergei Prokofiev.<br>text

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Councilor, Nicholas. "Doctoral thesis recital (clarinet)." Thesis, 2014. http://hdl.handle.net/2152/24491.

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Chen, Zhishuai. "Doctoral thesis recital (piano)." Thesis, 2013. http://hdl.handle.net/2152/23808.

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Coleman, Jacob A. "Doctoral thesis recital (collaborative piano)." 2014. http://hdl.handle.net/2152/23764.

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"An Adaptation of the Viola Sonatas of Julius Röntgen for Clarinet and Piano." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.46288.

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abstract: The purpose of this project is to add to the repertoire of clarinet music written in the Romantic style. While there are some pieces written by composers such as Johannes Brahms, Robert Schumann, Max Reger, and a few others, it pales in comparison to the amount of highly regarded clarinet music written in the twentieth century. For this project, the three viola sonatas of Julius Röntgen have been adapted for clarinet and piano. Though these pieces were composed in 1924 and 1925 at the height of the expressionist movement, they are written in the late-Romantic style, with chromaticism and rhythmic intricacies akin to the clarinet sonatas of Johannes Brahms, with whom Röntgen had a friendship. I believe that these pieces can serve as an alternative to the often-performed sonatas of Brahms, especially for students. They are similar in technical demands and they are not just sonatas, but true pieces of chamber music, with the piano as an equal partner to the clarinet. The project includes full scores of the adaptations of Röntgen's sonatas in C minor, A-flat Major, and A minor for viola and piano, as well as a comprehensive list of all adaptations made to the original sonatas, and a studio recording of all three adapted works.<br>Dissertation/Thesis<br>Sonata in C-Minor - Movement 1<br>Sonata in C-Minor - Movement 2<br>Sonata in C-Minor - Movement 3<br>Sonata in C-Minor - Movement 4<br>Sonata in A-Minor - Movement 1<br>Sonata in Ab-Major<br>Sonata in A-Minor - Movement 2<br>Sonata in A-Minor - Movement 3<br>Doctoral Dissertation Music 2017

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Rosado, Sara Yong. "From Brahms to the second Viennese school." 2005. http://hdl.handle.net/1903/9749.

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Kim, Suyeon. "Doctoral thesis recital (collaborative piano)." 2011. http://hdl.handle.net/2152/16986.

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YANG, YA-TZU, and 楊雅慈. "A Study of Denisov's Clarinet Sonata." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/nb9b3x.

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Huang, Yu-Hsiang, and 黃裕翔. "A Study and Performance Interpretation of Leonard Bernstein’s Clarinet Sonata." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/62485213815468709030.

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碩士<br>國立高雄師範大學<br>音樂學系<br>103<br>This thesis focuses on Sonata for Clarinet and Piano composed in 1942 by the famous twentieth-century American musician Leonard Bernstein (1918-1990). In his essay titled The Absorption of Race Elements into American Music for bachelor degree at Harvard University, Bernstein investigated how ethnicity in American music transformed from “material” one to “spiritual” one and how musicians, immersed in such melting pot, created music that is inherently American. This Sonata, the very first published work by Bernstein, puts this theory into practice. It represents not only American style but also Bernstein’s personal music vocabulary. 　　There are five parts in this thesis. The first section is introduction, including research motives and purposes. The second one deals with the background information of Bernstein’s life and this musical composition. The third part analyzes Bernstein’s work from musical perspective and puts forward suggestions for interpretation. The fourth one discusses the composer’s creative style. The fifth part is the conclusion.

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Huang, Pei-ching, and 黃珮晴. "The Analysis and Interpretation of Bernstein's 《Sonata for Clarinet and Piano》." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/40040963024279929796.

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碩士<br>東吳大學<br>音樂學系<br>94<br>Leonard Bernstein (1918~1990) is considered as one of the most important maestros in America, with a multiple career as a conductor, pianist, composer, and music educator. He is also one of the very few composers in the twentieth century who master both theatrical and classical music. Composed in 1941, the Sonata for Clarinet and Piano was Berstein’s early work when he just lest school. This Sonata was his only and small-scale chamber music composition, and the very first published work as well. Nowadays it is popular and often seen in the repertoire of concert, even arranged for cello and played by Yo-Yo Ma. Although it may not be difficult for clarinet players in terms of techniques, the music style of the Sonata is unique and fresh, which brings me motives to study this piece. This thesis is developed by four parts: the first chapter is the general introduction of the thesis, followed by the second chapter to talk about Bernstein’s life and music background. The third chapter aims to analyze the Sonata in terms of music structure, and the last chapter intends to discuss the interpretation in music performance.

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eacute;nez, Francisco-Jos eacute Flores Gim, and 傅顯恆. "Lai De-Ho apos; apos;s Sonata for Clarinet and Piano." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/7khunh.

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碩士<br>國立臺北藝術大學<br>音樂學系碩士在職專班<br>95<br>Lai De-Ho is one the most important Taiwanese composers of the present moment, nevertheless his Sonata for Clarinet and Piano is practically unknown. This paper tries to put this work in the context of Lai De-Ho''s life as a composer, and analyzes it to understand its structure and style in order to the concert interpretation.

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Chang, Wen-Mei, and 張文美. "The Analysis and Interpretation of Camille Saint-Saëns’ Clarinet Sonata Op. 167." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/88835706432991487086.

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Hsu, Ho-Lin, and 許鶴齡. "The Analysis and Interpretation of Francis Poulenc’s “Sonata for Clarinet and Piano”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/48102418264660260663.

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碩士<br>國立臺南藝術大學<br>鋼琴合作藝術研究所<br>100<br>Francis Poulenc (1899~1963), born in Paris, France, was a representative French composer in the 20th century. He was also a member of “Les Six.” Poulenc never received formal musical education in his whole life, however, it makes his composition extreme unique. Poulenc showed special interest in the woodwind instruments among his works. His love for woodwinds rose in 1915, and grew stronger after hearing Stravinsky’s clarinet solo piece in 1920. Before he passed away, he composed twelve pieces of piano chamber music, and eight of them were written for the woodwinds and piano. This paper contains the analysis and interpretation of Francis Poulenc’s “Sonata for Clarinet and Piano”. The music was composed in the summer of 1962 in memory of Arthur Honegger (1892-1955), a member of “Les Six.” The first part of Chapter One briefly introduces Francis Poulenc’s life; his family, friends, and all other aspects that contribute to Poulenc’s musical career. The second part of Chapter One discusses Poulenc’s music style and representative works, which are divided into three periods. Chapter Two focuses on the musical analysis of Poulenc’s “Sonata for Clarinet and Piano”. The first part of Chapter Two discusses the background and the characteristics of each movement. The second to fourth part of Chapter two analyzes the structure, rhythm, interval, dynamics, pedal and other musical aspects of each movement in order to understand Poulenc’s composing style. Chapter Three discusses Poulenc’s composing skills and the author’s interpretation, including “pedaling”, “dynamics”, “articulation”, “time signature”, “terminology”, “rhythm”, “interval”, “rest and breath signature”, and “the central note of the key,” from the view of a collaborative pianist.

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Tai, Mei-Shan, and 戴渼珊. "The Analysis and Interpretation of Paul Hindemith’s Sonata for Clarinet and Piano." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/26237857634662102926.

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碩士<br>台南應用科技大學<br>音樂研究所<br>99<br>The primary purpose of this thesis is to thoroughly discuss Hindemith''s Sonata for Clarinet and Piano. In this work, Hindemith combine traditional writing techniques with the baroque and classical era, as well as modern technique known as the neoclassical style. The first chapter of this thesis discusses Hindemith''s musical life along with many of his compositional styles. The second chapter explores his unique musical theories and creative concepts. The third chapter examines the background of this piece and its musical contents. The fourth chapter concentrates on the performance practice and interpretation aspect of the composition. I hope this research will help me develop better understanding of the piece and gain valuable knowledge for actual performances.

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Hsiao, Po-Kuang, and 蕭珀光. "The Interpretation--Brahms Sonata for Clarinet and Piano Op.120 No.2." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/50479652366602075231.

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Chen, Tzu-Yin，, and 陳姿吟. "The Study and Interpretation of Sonata for Clarinet and Pianoby Francis Poulenc." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/02641852160936658434.

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江致蒨. "The Interpretation of Brahms Sonata for Clarinet and Piano Op.120 No.2." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/95487401428669383259.

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Yeh, Chia-Yun, and 葉家昀. "A Study and Performance Interpretation of Mario Castelnuovo-Tedesco’s Clarinet Sonata, Op. 128." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/45510749991815041345.

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碩士<br>國立高雄師範大學<br>音樂學系<br>100<br>This study focuses on the musical background and analysis, interpretation and performance suggestions of the Clarinet Sonata, Op, 128, by the Italian composer Mario Castelnuovo-Tedesco (1895-1968). The idea of writing was inspired by Brahms’ two clarinet sonatas. This sonata reveals the Brahmsian passion and seriousness. Although this sonata is influenced by Brahms, it still combines the progressive style of the 20th century, which makes this sonata so captivating. The study is divided into four chapters. Chapter one is a brief introduction of the motives, goals, and scope of this research. Chapter two is a brief introduction of the composer and a background overview of this sonata. Chapter three is an analysis of the work, dwelling on aspects such as formal structure, tonality, rhythm, and musical texture. Based on the analysis and personal interpretation, performance suggestions for the work are also provided. Chapter four is the conclusion, which summarizes all the findings in the previous chapters as well as the writer’s opinion on this sonata.

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CHEN, YI-CHENG, and 陳奕錚. "The Analysis and Interpretation of Sonata for Clarinet and Piano by Michele Mangani." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/57zv8t.

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碩士<br>輔仁大學<br>音樂學系<br>105<br>When tonal music has become mature, the 20th century composers started to break through the rules of the tonal music and to compose progressive, complicated atonal compositions. However, Michele Mangani, a modern composer, overturns the stereotype of the modern music by changing his compositional techniques back to tonal and romantic approach. He is gifted in writing clarinet pieces with smooth and touching melodies as a composer and a clarinetist in one. Instead of catching the audience’s attention with virtuosity, he innovates a unique style with beautiful and soundtrack-like clarinet music. The thesis is focused on the composition “Sonata for Clarinet and Piano” by Michele Mangani. There are five chapters including the biography of the composer, the style of the music and the influence on creation as a composer and a clarinetist in one. By understanding the concept, approach and characteristic of the music, it discusses further about the work’s analysis and interpretation. In the end, it comes to a conclusion by integrating the whole composition’s point of view.

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Ko, Li-Yin, and 葛俐吟. "A Study and Analysis of Leonard Bernstein’ s Sonata for Clarinet and Piano." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/73278s.

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碩士<br>國立中山大學<br>音樂學系研究所<br>107<br>Leonard Bernstein（1918-1990）was a notable composer, conductor, and music educator during the twentieth century in The United States. His numerous works are in a great astonishment which are including various genres. The American music in the twentieth century was affected by popular and jazz musical elements, hence, it made Bernstein who advocated tonality starting to blend in jazz, classical and the popular musical elements at that time. Sonata for Clarinet and Piano was composed in two movements. It was not only Bernstein’s first published work, but also one of the most common and popular works in concert repertoire. There are four chapter in this thesis. The first chapter is the biography of Bernstein who was a famous Jewish composer, conductor and music educator growing up in the twentieth century. The second chapter is the background of Sonata for Clarinet and Piano. This work is the first work composed by Bernstein and the only sonata he wrote for the wind instrument. The third chapter is the analysis of Sonata for Clarinet and Piano. The fourth chapter is the conclusion. By studying the social background of Bernstein, the characteristics of American music at that time, and the analysis of the work, the researcher classifies how Bernstein used themes, pitch centricities, harmonies, and rhythms…etc. to present the tension and traits of this work. 　　In this paper, the researcher sorts out that Bernstein illustrated a lot of pitch centricities and dissonant intervals in this work. He made the melody into simpler style and added the elements of blues music. Also, he often put a variety of triplets, irregular accents and cuban rhythms…etc in this work.

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Hu, Yu-Han, and 胡郁涵. "An Analysis and Interpretation of Sonata for Clarinet and Piano by Carlos Guastavino." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/86095534889337210283.

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Chen, Yen-ling, and 陳妍伶. "The Analysis and Interpretation of Pocket Size Sonata No. 1 for Clarinet and Piano by Alec Templeton/Yen-ling Chen Clarinet Recital." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/23988281306340348634.

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碩士<br>東吳大學<br>音樂學系<br>97<br>Alec Templeton(1909-1963) was an English composer and pianist. Blind from birth, he displayed musical talent at a young age. From1921-1935 he did a series of musical programs for the BBC；he also studied at the Royal Academy of music and the Royal College of Music. Settled in the U.S. in 1935 and performed widely with orchestras and on the radio. He was best known for music parodies of specific classical styles, as in“Bach Goes to Town”.He also composed a number serious works, including piano concerto, a piano method and of “Pocket Size Sonata No. 1 for Clarinet and Piano”.The three movement titles “Improvisation”,“Modal Blues”,“In Rhythm”indicate a jazz style and provide a great opportunity for students interested in jazz clarinet playing. The dissertation included three sections. The first section introduced the composer’s life, musical style, historical background, and the relationship between the jazz music and the composer’s musical development. The second section analyzed the Pocket Size Sonata for Clarinet No. 1 from the motif and structure. The third section discussed the performance difficulties based on the previous analysis. Fanally, I compared all different kinds of recordings to find out practical solutions for the clarinetists who hope to perform this piece in the future. Yen-ling Chen Clarinet Recital Program 1. P. Reade (1943 - 1997): Suite from The Victorian Kitchen Garden for Clarinet and Piano or Harp 2. B. Kovács (b 1937 - ): Hommage à A. Khachaturian for Clarinet solo 3. P. Gabaye (1930 - 2000): Sonatine for Clarinet and Piano 4. C. M. von Weber (1786 - 1826): Variations for Clarinet and Piano, Op.33 5. E. Bozza (1905 - 1991): Rhapsodie Niçoise for Clarinet and Piano 6. A. Templeton (1909 - 1963): Pocket Size Sonata No.1 for Clarinet and Piano

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Chiang, Fu-Yin, and 江馥吟. "The Analysis and Interpretation of Fantasy-Sonata for Clarinet and Piano by John Ireland." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/96399615893080215132.

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Wu, Chia-Chao, and 吳佳釗. "AN INTERPRETATION OF J. BRAHMS’S SONATA FOR CLARINET AND PIANO, OP.120, NO. 2." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/23060727955862966616.

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碩士<br>國立交通大學<br>音樂研究所<br>98<br>Johannes Brahms is the most famous composer of 19th century Europe, and along with J.S. Bach and L. v. Beethoven, is one of the trio of Germany 3B’s. In 1891 Brahms heard clarinetist Richard Mühlfeld’s performance of a C. M. v. Weber’s concerto, and began composing a number of now famous works for the clarinet for Mühlfeld, including J. Brahms’s Sonata for Clarinet and Piano, op. 120, no. 2, which remains a classic clarinet piece to this day. The first section of this paper discusses Brahms’ life and the background which inspired the creation of J. Brahms’s Sonata for Clarinet and Piano, op. 120, no. 2. The second through fourth sections consider the various movements’ musical forms, tonality, rhythm, speed and other elements, deploying musical analysis to explain how to interpret the works in depth.

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