Relevant bibliographies by topics / Clarinet teachers

Contents

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

Academic literature on the topic 'Clarinet teachers'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Clarinet teachers"

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Ц., Ли. "История развития кларнетного мастерства в обучении начинающих музыкантов". Review of pedagogical research 6, № 7 (2024): 292–96. https://doi.org/10.58224/2687-0428-2024-6-7-292-296.

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в настоящее время в Китае образование в области духовой музыки находится на подъёме. На базе исторических достижений в развитие кларнетного мастерства обучение кларнетистов в Китае в ХХ веке становится популярным. На основе музыкального и технического совершенствования кларнета в XVIII и XIX веках в европейском музыкальном искусстве формируются школы и появляются известные кларнетисты, внесшие большой вклад в образование. В китайских музыкальных школах качество преподавания в классе кларнета для начинающих постоянно улучшается благодаря повседневному совершенствованию преподавателей в професси
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Purser, David. "Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires." British Journal of Music Education 22, no. 3 (2005): 287–98. http://dx.doi.org/10.1017/s0265051705006546.

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This article was motivated by a staff development session when the brass faculty of a conservatoire were invited to share and discuss their approaches to teaching. It presents the results of interviews with six well known woodwind or brass players who have also taught at one or more conservatoires in London for periods of between one and 40 years. All are male. The six instruments represented are: trumpet, horn, trombone, flute, clarinet and bassoon. While there were commonalities in the approach of teachers, marked differences also emerged. Although some of these may reflect the particular de
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Miksza, Peter, and Leonard Tan. "Predicting Collegiate Wind Players’ Practice Efficiency, Flow, and Self-Efficacy for Self-Regulation." Journal of Research in Music Education 63, no. 2 (2015): 162–79. http://dx.doi.org/10.1177/0022429415583474.

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The purpose of this study was to determine whether students’ practice efficiency, flow during practicing, and self-efficacy for self-regulation varied as a function of their practice tendencies, their tendencies toward self-evaluation, their self-regulatory tendencies to be self-reflective when practicing, tendencies to exhibit grit in their learning, and their teachers’ methods of instruction in practicing. Participants were 52 studio lesson teachers and 241 of their students from 25 large collegiate music programs in the United States. Both the teachers and students represented a diverse ran
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Alves, Anderson César, and Marcos Nogueira. "Embodiment Consciousness in Music Performance Pedagogy." Empirical Musicology Review 19, no. 1 (2024): 10–24. http://dx.doi.org/10.18061/emr.v19i1.9571.

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The acquisition of expertise in music performance and its pedagogy, depends on, beyond specific musical skills, employing resources from other fields of knowledge and considering sensory, motor, and affective capacities at each step of the music learning process. We studied the teaching practices of three expert clarinet teachers to investigate their didactic procedures, evaluating how those practices could be related to their students’ high levels of performance. The method gathered data from a “protocol joint analysis” and semi-structured interviews with teachers and their students. Data ana
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Klanjscek, Neva, Lisa David, and Matthias Frank. "Evaluation of an E-Learning Tool for Augmented Acoustics in Music Education." Music & Science 4 (January 1, 2021): 205920432110375. http://dx.doi.org/10.1177/20592043211037511.

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Augmented Practice Room is an e-learning tool, developed by the project team, that allows music students to practice in different acoustical environments while remaining physically in their classroom or at home. Music teachers and students from violin, ‘cello, piano, clarinet, guitar, and pop-singing classes have collaborated in testing it for a semester and giving the authors continuous feedback. In this exploratory phase, we used methods such as group discussion and semi-structured diary, with the purpose to gather as many different perspectives and reactions from participants as possible. T
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Stepenko, Eduard A. "Constructive Interaction of Teacher and Student in the Process of Learning to Play the Clarinet As a Condition for Formation of Ensemble Music Culture." Uchenye Zapiski RGSU 20, no. 2 (2021): 139–47. http://dx.doi.org/10.17922/2071-5323-2021-20-2-139-147.

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Constructivity in the interaction of a teacher and a student contributes to an increase in the level of musical and performing skills, therefore, the problem of research is relevant in connection with the disclosure in the conditions of constructive interaction of the potential capabilities of the student when playing the instrument, the influence on its creative development, including in the field of ensemble music. Such interaction encourages the acquisition of the entire complex of competencies and its own professional position. The constructive interaction of the teacher and the student in
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MacFerrin, S. Tiffany. "The Self‐Directed Teacher: Managing the Learning Process." TESOL Journal 8, no. 1 (1999): 41–42. http://dx.doi.org/10.1002/j.1949-3533.1999.tb00160.x.

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Badalov, Oleh. "THE RECITER’S CREATIVITY IN THE CONTEXT OF REGIONAL CULTURAL CREATION (BY THE EXAMPLE OF ACTIVITY BY HONORED ARTIST OF UKRAINE RAISA RESHETNYUK)." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 94–104. http://dx.doi.org/10.25128/2411-3271.19.2.13.

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The purpose of the article is to cover the stages of the life-stage development of the Chernihiv Philharmonic’s reciter, laureate of reciter’s national competitions, Honored Artist of Ukraine Raisa Reshetnyuk (1948–2014), understanding her contribution to the development of Chernihiv region’s culture of the ending of the 20th – the beginning of the 21th centuries. In the field of view of the author – the formation of artistic personality of Raisa Reshetnyuk as the reciter in the late 1970’s, the study of her major literary-and-musical programs “Solo for the Violin and the Clarinet” by the life
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Dancis, Jerome. "Changing the Subject, Or, Would You Hire a Good Clarinet Teacher to Teach Your Child the Violin?" Humanistic Mathematics Network Journal 1, no. 20 (1999): 7–9. http://dx.doi.org/10.5642/hmnj.199901.20.08.

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Чень, Цюнцюн. "Розвиток емоційного інтелекту майбутнього вчителя музики в КНР". Освіта та розвиток обдарованої особистості, № 1 (29 квітня 2025): 46–51. https://doi.org/10.63437/2309-3935-2025-1(96)-07.

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The article clarifes t he d efnition of ‘emotional intelligence’ and its components (self- awareness, self-management, social awareness, relationship building skills, ability to make responsible decisions); it is substantiated that social and emotional skills are extremely important for a future music teacher, as they determine how friendly and favourable the atmosphere in the classroom and in the team will be; the possible ways of its improvement for all participants of the educational process are characterised, in particular, it is necessary to introduce the development of EI into the practi
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Dissertations / Theses on the topic "Clarinet teachers"

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"Eric Mandat (B. 1957): A Multiphonic Meditation on a Composer, Clarinetist and Teacher." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14789.

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abstract: Examples of new or extended clarinet techniques first appeared early in the twentieth century. By the 1960s, composers and performers began to drastically augment standard clarinet technique, by experimenting with multiphonics and microtones. Subsequently, clarinetists-teachers William O. Smith, Gerard Errante, Ronald Caravan, and others further pushed the limits of sound through their compositions for clarinet. This study explores the important contributions of clarinetist-teacher-composer Eric Mandat to the clarinet repertoire, and presents readers with a detailed biography of Mand
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Books on the topic "Clarinet teachers"

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Craven, Leslie. Instant help for playing and teaching the clarinet: A fast-find reference, self-help book for clarinet students and teachers. Leslie Craven, 2003.

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Dean, Michael. Clarinet on campus: Catalogue of results from a survey of clarinet teachers at colleges and universities in the United States. LMB Resources, 1997.

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Dean, Michael. Clarinet on campus: Catalogue of results from a survey of clarinet teachers at colleges and universities in the United States. LMB Resources, 1997.

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4

Đukić, Milan V. Sasi Istvan: Secanja. Grafos internacional, 2016.

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5

Pear, John. The alto clarineet companion: A handbook for performers, teachers and students. Ephemerae, 1998.

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O'Reilly, John. Teacher's Resource Kit: A comprehensive band method that increases creativity and musicianship. Alfred Publishing Co., Inc., 2004.

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Inc, Allayas. Clarinet Music Sheet Manuscript : for Clarinet Students, Teachers, Composers, Music Lovers: 12 Staves per Page, 120 Pages 8. 5x11in. Music Notes Sheets Paper. Independently Published, 2021.

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Gordon, Louis. Music Minus One Clarinet: Teacher's Partner: Basic Clarinet Studies for the Beginner (Book & CD). Music Minus One, 1996.

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Teacher's Resource Kit: A comprehensive band method that increases creativity and musicianship. Alfred Publishing Co., Inc., 1997.

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Teacher's Resource Kit: A comprehensive band method that increases creativity and musicianship. Alfred Publishing Co., Inc., 1998.

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Book chapters on the topic "Clarinet teachers"

1

McCutchan, Ann. "James Mobberley." In The Muse that Sings. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0019.

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Abstract James Mobberley grew up in central Pennsylvania and spent his high school and college years in North Carolina. He credits his elementary school music teacher with instilling in him a great love of music. As a Child he took up the clarinet, then taught himself the guitar at age fourteen and, as he puts it,”hooked up with some other novice rockers in high school and college and nursed a band for seven years-all original stuff, mostly wacky songs about aliens and fast food and the Ayatollah Khomeini:’ Mobberley earned a bachelor’s degree in guitar and a master’s degree in composition at
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Schuring, Martin. "Instrument Selection, Care, and Adjustment." In Oboe Art and Method. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195374582.003.0010.

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Abstract Buying an oboe or English horn is a little different from making a major domestic purchase like an appliance, and even a little different from buying a more popular wind instrument like a saxophone or a clarinet. Before moving to more specific tips for buying an oboe, let me make a few points right at the outset. If you only read the rest of this section, you’ll already do well with your selection and purchase. Include your teacher in the purchase process. Unless you are an experienced oboist, you should never buy an instrument without advice from a teacher or professional player. In
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Bryan, Simms. "A Struggle for Recognition, 1911–15." In Berg. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931445.003.0004.

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Chapter 3 covers Berg’s life and music from the end of his apprenticeship until his conscription in the Austrian army during World War II. During this time Berg worked mainly as an assistant for his teacher, Schoenberg, and he also made several piano arrangements for the publisher Universal Edition. Berg was increasingly active as a writer on music, and in 1913 he completed a lengthy technical analysis of Schoenberg’s Gurrelieder. His compositions during the period contain many new procedures and materials that go beyond those approved of by Schoenberg. His Altenberg Songs (1912) and Orchestra
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Conference papers on the topic "Clarinet teachers"

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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986
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De Smedt, Koenraad, Iulianna Van der Lek, Henk Van den Heuvel, et al. "CLARIN in Training and Education." In CLARIN Annual Conference 2023. Linköping University Electronic Press, 2024. http://dx.doi.org/10.3384/ecp210011.

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To help realise its potential as the research infrastructure for language as social and cultural data, CLARIN is supporting the training of students and scholars in using its language data, tools and services. Lecturers and teachers in the CLARIN network have integrated CLARIN language resources into higher education programmes and other training activities. This paper showcases some recent courses and training initiatives, along with inventories and new learning materials, partly developed in EU-funded projects, which are accessible through the CLARIN Learning Hub. Each section briefly descri
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Balvet, Antonio. "Teaching Syntax with CLARIN Corpora and Resources." In CLARIN Annual Conference 2023. Linköping University Electronic Press, 2024. http://dx.doi.org/10.3384/ecp210003.

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The recent COVID-19 pandemic has brought online learning to the forefront for learners and teachers. As a consequence, the demand for self-paced and adaptive learning resources has reached unprecedented levels. Fortunately, universities had been using e-learning platforms such as Moodle, or other SCORM-compliant LMS, which has helped make the transition from onsite to on-line learning. However, teachers still have had to design and implement assessment activities in the form of self-correcting activities (true/false, multiple answer questions, mark the words, fill in the blanks questions, etc.
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