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Journal articles on the topic 'Clarinet'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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

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3

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

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4

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

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This study analyzes the role of compositions for solo clarinet and clarinet-inclusive ensembles as unique contributions within the oeuvre of Ukrainian composers. The research highlights the potential of these works to explore the expressive capacities of the clarinet, particularly in the context of chamber ensemble performance, genre innovation, and creative experimentation. The novelty of the study lies in identifying the semantics of chamber wind ensembles as an independent scholarly issue, especially given the growing number of such compositions. The paper examines the interrelation between

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5

Rosen, Jerome, Harrison Birtwistle, Jules Langert, et al. "Clarinet Quintet; For Clarinet and String Quartet." Notes 44, no. 2 (1987): 365. http://dx.doi.org/10.2307/941597.

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6

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

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7

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

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This paper aims to discuss the evolution and development trend of modern clarinet art. First of all, starting from the origin and development background of clarinet, we comb the characteristics and definition of modern clarinet art. Secondly, this paper analyzes the technical evolution of modern clarinet art in performance skills, musical style, sound technology and other aspects. On this basis, we further discuss the development of modern clarinet art in forms of expression, music education, communication and communication. By analyzing the representatives of modern clarinet artists and their

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8

O'Loughlin, Niall. "Modern Clarinet." Musical Times 127, no. 1719 (1986): 341. http://dx.doi.org/10.2307/965089.

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9

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

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10

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

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11

O'Loughlin, Niall. "Clarinet Concertos." Musical Times 131, no. 1767 (1990): 273. http://dx.doi.org/10.2307/966166.

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12

Garlick, Nancy Buckingham, and O. Lee Gibson. "Clarinet Acoustics." Notes 52, no. 2 (1995): 489. http://dx.doi.org/10.2307/899066.

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13

Lawson, Colin. "Clarinet charms." Early Music 45, no. 3 (2017): 480–81. http://dx.doi.org/10.1093/em/cax053.

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14

Zhang, Ke. "Status Quo and Countermeasures of Clarinet Education in China." Academic Journal of Science and Technology 14, no. 3 (2025): 178–83. https://doi.org/10.54097/50nj2d55.

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This paper aims to discuss the current situation and existing problems of clarinet education in China, and put forward corresponding countermeasures and suggestions. Through the development of clarinet education background, present situation, the existing problems are further analyzed, found that the clarinet education education resources distribution, uneven faculty quality, teaching materials and teaching method limitations, the lack of systematic training and training opportunities, social awareness of clarinet education. In view of these problems, this paper puts forward countermeasures an

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15

Piirainen, Anne Elisabeth. "In search for hidden repertoire gems: A performer´s approach to Russian and Soviet clarinet music." Trio 10, no. 1 (2021): 79–85. http://dx.doi.org/10.37453/trio.110128.

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In her doctoral research, Anne Elisabeth Piirainen sheds light on a little known aspect of the clarinet repertoire – clarinet music from Russia and the former Soviet Union. This performance-based research gives insight into a large variety of very valuable yet quite forgotten compositions with a special focus on clarinet works with Jewish themes. The thesis is published as a website and includes an extensive clarinet composition database that aims to close the research gap on this topic.

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16

Titarov, Mykhailo. "Clarinet Quintet and the Legacy of the Mannheim Chapel Composers." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 181–85. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283147.

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The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace

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17

O'Loughlin, Niall. "Mozart Clarinet Quartets." Musical Times 128, no. 1731 (1987): 278. http://dx.doi.org/10.2307/965130.

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18

Shackleton, Nicholas, and Albert R. Rice. "The Baroque Clarinet." Galpin Society Journal 46 (March 1993): 204. http://dx.doi.org/10.2307/842378.

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19

Dibley, Tom, and Colin Lawson. "Brahms: Clarinet Quintet." Galpin Society Journal 52 (April 1999): 342. http://dx.doi.org/10.2307/842539.

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20

Hoeprich, Eric, and Albert R. Rice. "The Baroque Clarinet." Notes 50, no. 1 (1993): 187. http://dx.doi.org/10.2307/898744.

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21

Rice, Albert R. "Clarinet Fingering Charts." Galpin Society Journal 38 (April 1985): 144. http://dx.doi.org/10.2307/841291.

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22

Hoeprich, T. E. "Clarinet Fingering Charts." Galpin Society Journal 38 (April 1985): 145. http://dx.doi.org/10.2307/841292.

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23

Getzen, Donald E. "Clarinet tuning barrel." Journal of the Acoustical Society of America 84, no. 6 (1988): 2306. http://dx.doi.org/10.1121/1.396760.

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24

Bye, Antony, Emma Johnson, Malcom Martineau, RPO, and Groves. "Stanford: Clarinet Concerto; Three Intermezzi Finzi: Clarinet Concerto; Five Bagatelles." Musical Times 134, no. 1799 (1993): 46. http://dx.doi.org/10.2307/1002649.

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25

Casadonte, Donald. "The perfect clarinet reed? Vibrational modes of realistic clarinet reeds." Journal of the Acoustical Society of America 94, no. 3 (1993): 1807. http://dx.doi.org/10.1121/1.408250.

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26

Xu, Jiasheng. "Evaluations of Clarinet Sound Quality and Register Characteristics." Highlights in Science, Engineering and Technology 62 (July 27, 2023): 234–40. http://dx.doi.org/10.54097/hset.v62i.10448.

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The clarinet is a commonly used woodwind instrument that has a unique sound quality, making it a prominent instrument in solo performances and orchestral music. Therefore, sound quality plays an important role in the perception of clarinet sound. This study provides a review of the relevant research in the field of clarinet sound analysis and synthesis, and identifies many valuable references from previous studies. In studying the noise component of clarinet sound, this study recorded audio samples of E3, E4, and E5 and preprocessed them by slicing and performing frequency domain transformatio

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27

Supiarza, Hery, Luli Angsal Lintang Annisa, and Irwan Sarbeni. "Interpretation of Jae Hee Choi: Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato" by Carl Philip Stamitz." Jurnal Seni Musik 12, no. 2 (2023): 279–90. http://dx.doi.org/10.15294/jsm.v12i2.74434.

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The research of Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato” by Carl Philipp Stamitz by Jae Hee Choi is motivated by the clarinet solo performance of a clarinetist performing the cadenza part of this concerto. The focus of this research is to find out the interpretation and technique of Jae Hee Choi's clarinet playing by analyzing the cadenza part through the interpretation and technique of playing the clarinet to be able to have a good impact in interpreting an interpretation of playing music, especially concertos in the baroque era. The method used in this research is a descrip

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28

Tytarov, Mykhailo. "Clarinet Quintet in Carl Maria von Weber's Works: Genre and Style Dimensions." Bulletin of KNUKiM. Series in Arts, no. 48 (June 24, 2023): 102–8. https://doi.org/10.31866/2410-1176.48.2023.282465.

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The aim of the article is to investigate the genre and style features of C. M. Weber’s Quintet for clarinet and string instruments, one of the most famous works of the chamber ensemble repertoire of modern clarinetists. Results. Despite the tendencies of the era of romanticism in Weber’s opera works, the stylistic features of his instrumental works, in particular the Quintet for clarinet and string instruments, indicate a close connection with the musical thinking and musical language of the era of classicism. In the music of the Quintet, one can find many allusions to th

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29

Yang, Liu, and Chen Rui. "History of teaching style of playing clarinet in China and Russia." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-1 (2022): 224–35. http://dx.doi.org/10.31166/voprosyistorii202212statyi44.

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The article analyzes historical foundations of the teaching style of playing clarinet in the Chinese system of music education, the main aspects of teaching clarinetists in China in diff erent periods are also presented. Th e key representative fi gures who played a big role in the development of the clarinet art in the Celestial Empire and made a particularly valuable contribution to the formation and professionalization of the Chinese national clarinet school are characterized. Th e key problems of professional clarinet players’s training in China. Th e possibilities of using the Russian ped

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30

v, Radu. "Tango Margareta for flute, clarinet and piano by C. Rusnac – characteristic aspects of language, structure and interpretation." Dialogica. Revistă de studii culturale și literatură, no. 1 (May 2025): 69–72. https://doi.org/10.59295/dia.2025.1.08.

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In this article, the author proposes to analyze the characteristic elements of language and structure of the creation Tango Margareta for flute, clarinet and piano by C. Rusnac. At the same time, the aim is also to elucidate the most important interpretative aspects in order to determine the degree of complexity but also to codify the essential musical idea. The importance of the works in music for clarinet from the Republic of Moldova: the compositional repertoire for clarinet is quite vast and diverse in terms of genre – fantasies, sonatas, trios, etc., but also instrumental composition – cl

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31

Cipriano Almeida Barros, Lívia, Eduardo Luiz Longui, and Lech Muszynski. "A quest for a sustainable alternative wood species to produce world class clarinets." BioResources 16, no. 3 (2021): 6292–312. http://dx.doi.org/10.15376/biores.16.3.6292-6312.

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Clarinets are made with a variety of materials, e.g., plastic, graphite, porcelain, or even metal. However, the most commonly used material to make clarinets is wood. Today, African granadilla or African blackwood (Dalbergia melanoxylon) is the most popular and most widely used species by leading international companies in terms of clarinet production, because of its high density, color, fine texture, and exceptional durability. This species is also used to manufacture flutes, oboes, and bagpipes, making African blackwood one of the most valuable tree species in the world. However, the focus o

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32

Yang, Liu, and Zhang Hao. "The history of the nationalization of clarinet art in the musical culture of China." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-2 (2022): 110–21. http://dx.doi.org/10.31166/voprosyistorii202212statyi47.

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The wind wooden reed instrument clarinet is one of the most common of its group not only in Western European musical culture, but also in the East Asian region in China. Within the framework of this article, the goal is put forward to reveal the problems of creating their own methods of clarinet creativity by Chinese composers and performing musicians in a historical retrospective, as well as to formulate and evaluate possible prospects for increasing the nationalization of clarinet art in the Middle Kingdom.

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33

Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.

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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard M&#252;hlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – wit

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34

Kunstadt, Len, and Bob Colton. "Daddy of the Clarinet." Black Perspective in Music 16, no. 2 (1988): 227. http://dx.doi.org/10.2307/1214810.

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35

McBride, Jerry L., Andrew Frank, Peter Josheff, et al. "Autumn Refrain for Clarinet." Notes 54, no. 2 (1997): 571. http://dx.doi.org/10.2307/899572.

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36

Charlton, David. "The Berr Clarinet Tutors." Galpin Society Journal 40 (December 1987): 48. http://dx.doi.org/10.2307/841169.

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37

Lawson, Colin. "The basset clarinet revived." Early Music XV, no. 4 (1987): 487–502. http://dx.doi.org/10.1093/earlyj/xv.4.487.

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38

Holman, Peter. "The clarinet in England." Early Music 33, no. 4 (2005): 749. http://dx.doi.org/10.1093/em/cah181.

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39

Gardner, Joshua. "Effects of a Synthetic Clarinet Bore Liner on Spectral Centroid and Fundamental Frequency Error." Acta Acustica united with Acustica 105, no. 6 (2019): 1206–16. http://dx.doi.org/10.3813/aaa.919397.

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Throughout their relatively short history, various materials have been used to construct clarinets. While wood is the most common material used for modern professional clarinets, other materials have been and continue to be used, including synthetic materials. Despite the availability and accessibility of these materials, professional musicians rarely use instruments made from synthetics, insisting that their wooden counterparts produce superior results. Numerous studies have found the energy radiated directly by rigid cylindrical vibrating tubes to be both insignificant and have little to no

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40

Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Cla

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41

Wang, Kaiwei. "Comparative Study on Non-Elite Clarinet Education in China and Australia: Cultural Influences and Educational Approaches." Lecture Notes in Education Psychology and Public Media 76, no. 1 (2025): 176–84. https://doi.org/10.54254/2753-7048/2024.20384.

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This paper presents a comparative study of non-elite clarinet education in China and Australia, focusing on differences and similarities in historical background, teaching focus, teaching methods, and music culture. Both China and Australia were colonies of Western countries and were deeply influenced by foreign cultures, showing a cultural characteristic of the interweaving of local and foreign cultures. The differences in local culture have led to the development of a unique educational philosophy. Chinese clarinet education, influenced heavily by traditional Chinese concepts and Western cla

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42

Hromchenko, Valerii, and Andriy Gorban. "PERFORMANCE-STYLE FEATURES OF THE CONCERTO № 3 FOR CLARINET AND ORCHESTRA BY L. SPOHR." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 61–69. http://dx.doi.org/10.33287/222005.

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The purpose of this scientific investigation is the disclosure of the creative phenomenon of German composer L. Spohr in wind contemporary academic music and performing art by identifying the most characteristic performance and the stylistic peculiarities of creator that is instrumentally artistic speech. The material of this study is the well-known Concerto № 3 for Clarinet with symphonic orchestra by L. Spohr. The methods of this scientific intelligence are in the application of general scientific approaches to the study of a particular topic. The historical method is used to highlight the p

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43

Fennelly, Brian, and Pierre Boulez. "Dialogue de l'ombre double [For Live Clarinet and Clarinet Pre-Recorded on Tape]." Notes 50, no. 1 (1993): 391. http://dx.doi.org/10.2307/898781.

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44

Hoeprich, E. "Review: The Classical clarinet: Albert R. Rice, The clarinet in the Classical period." Early Music 32, no. 4 (2004): 621–22. http://dx.doi.org/10.1093/em/32.4.621.

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45

Petch, Steve. "Another Morning." Canadian Theatre Review 52 (September 1987): 58–81. http://dx.doi.org/10.3138/ctr.52.010.

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In the dark, a big band tune of the early 1940s, featuring a solo clarinet. The tune comes to an end; an audience applauds. William appears in a tight spotlight, holding a clarinet. He wears a white shirt, the sleeves rolled up and the collar loosened. William acknowledges the applause.

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46

Zhexuan, Wang. "Clarinet performance and pedagogy in contemporary art." OOO "Zhurnal "Voprosy Istorii" 2022, no. 5-2 (2022): 265–71. http://dx.doi.org/10.31166/voprosyistorii202205statyi42.

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The problem of creating a domestic repertoire for clarinet and clarinet ensembles is relevant and at the same time poorly studied, since for a long time it remains outside the sphere of scientific understanding of domestic musicologists. However, the multiplicity, the originality of artistic solutions, the interest of performers in this area of compositional creativity testify to it as a large-scale and original artistic phenomenon with deep history. And if the examples of clarinet creativity abroad have a certain coverage on the pages of research literature, then the analysis of compositions

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47

Hojbotă, Zaharia, and Doru Albu. "STRUCTURAL AND INTERPRETIVE APPROACHES IN INTRODUCTION, THEME AND VARIATIONS FOR CLARINET AND ORCHESTRA BY GIOACHINO ROSSINI." Review of Artistic Education 27 (April 1, 2024): 78–87. http://dx.doi.org/10.35218/rae-2024-0009.

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In this study, we aim to decode and highlight one of the most important works in the study of the clarinet, Introduction, Theme, and Variations for Clarinet and Orchestra, by Gioachino Rossini. In this variation-type piece, G. Rossini optimally combines the problems of virtuosity that unfold over the entire range of the clarinet, with his usual cantability, of a perfect lyricism.With its ambitus, large intervals, and passages of virtuosity in various rhythmic formulas, the work falls into the category of great difficulty and represents a challenge for the soloist. Without being modest, if the

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48

Kendall, Roger A. "The Role of Acoustic Signal Partitions in Listener Categorization of Musical Phrases." Music Perception 4, no. 2 (1986): 185–213. http://dx.doi.org/10.2307/40285360.

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An experiment was designed to assess the relative contribution to listener categorization strategies of various temporal partitions of the acoustic signal for trumpet, clarinet, and violin. The role of context, whole phrase versus single note, was also evaluated. Analog recordings of three folk-song phrases performed on two clarinets, violins, and trumpets were digitized. A computer program was developed for digital signal editing. Signal edit conditions included normal, time-variant steady-state alone, transients alone, and static steady state with and without transients. Musicians and nonmus

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49

Ridley, E. A. K. "Birth of the 'Boehm' Clarinet." Galpin Society Journal 39 (September 1986): 68. http://dx.doi.org/10.2307/842134.

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50

Lang, Alfred J., and Robert Starer. "Kli Zemer (Concerto for Clarinet)." American Music 18, no. 3 (2000): 336. http://dx.doi.org/10.2307/3052439.

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