Journal articles: 'Clarinet'

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

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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5

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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6

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

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7

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

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8

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

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9

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

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10

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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11

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

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12

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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13

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

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14

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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15

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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16

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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17

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

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18

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

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19

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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20

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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21

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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22

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 the first violin, so the genres of trio and quartet for clarinet and string instruments became the most popular. In the ensembles with a larger number of participants, the search for optimal performing compositions continued. One of them was a quintet for clarinet, two violins, viola, and cello. It required independence of all parts and did not allow the interchangeability of clarinet and violin. Individual works were written for this composition, one of them isin the pieces byC. Stamitz. It isindicated that the connection between composers and clarinetists appeared for the first time in the legacy of Mannheim school. A conclusion is made about the influence of chamber music with the participation of clarinet representatives of the Mannheim chapel on the genre and style priorities of W.A. Mozart, whose works include a clarinet quintet (1789).

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23

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 transformations. Using 13 representative spectral features, this paper extracted features from the spectral signals and constructed a classification model of sound quality based on the SVM algorithm of machine learning. Finally, this study analyzed the shortcomings of the SVM algorithm in high-pitch analysis and proposed future research directions of combining the SVM algorithm with different sound characteristics of clarinet registers and spectral changes throughout the entire process of playing. These results shed light on guiding further exploration of the timbre of the clarinet.

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24

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 descriptive research method with three stages of analysis. The first stage is audio-visual analysis. The second stage rewrites the notation with the Sibelius application. The third step is to analyze the rewritten notes and make a comparison between the cadenza played by Jae Hee Choi and the original cadenza in this concerto. This research found two very important things namely; clarinet interpretation and technique. Interpretation includes interpretation of expression, rhythm, melody, and dynamics. The clarinet playing technique includes blowing techniques and fingering techniques.

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25

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 pedagogical experience in improving the methodological basis for the professional clarinetists’s training in China are assessed.

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26

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 on the usage of a single species puts considerable pressure on a rare and endangered wood species. Therefore, this work aims to identify viable alternatives to African blackwood in terms of manufacturing clarinets as well as providing a similar combination of instrument characteristics that musicians and companies believe contribute to the value of the instrument, e.g., acoustics, aesthetics, and price.

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27

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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28

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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29

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

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30

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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31

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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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 – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.

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34

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 effect on an internal vibrating air column. Using real instruments played by musicians, the present study compared a prototype clarinet upper joint with a synthetic bore liner produced by French instrument maker Henri Selmer Paris to two unlined, solid wood clarinets of the same make and model by examining two acoustical parameters. Spectral centroid and fundamental frequency f0 pitch error were measured for 45 notes (written E3-C7), performed by five accomplished clarinetists unaware of which instrument they were playing. Consistent with findings from other researchers, the particular instrument had no significant effect on spectral centroid. Meanwhile, although a significant effect of the instrument on f0 pitch error was found, pairwise comparisons suggest non-significant effects from the lined joint.

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35

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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36

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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37

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 Classics CC0039.MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.

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38

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 place of clarinet masterpieces and, in particular, Concert № 3, in the palette of the artistʼs creative achievements. The comparative method creates the possibility of comparing a number of clarinet means of expression with the artistic potential of string-bow performance. The sequence of presentation of the material is determined by the action of the structural-analytical method. Methods of observation and generalization are of practical importance. The scientific novelty of this specialized disquisition is due to the insufficient study of the clarinet works of L. Spohr in the light of modern musicological thought. Conclusions. The distinctiveness of L. Spohrʼs performance- stylistic peculiaritics of instrumental speech in clarinet Concerto № 3 for clarinet and orchestra is marked, first of all, by the use of various types of virtuosity (shallow, combined, large virtuosity), the performance of various types of melismatics both in slow and melodic ways, the use of high and ultra-high sound registers of the instrument (note to the fourth octave), which, we emphasize, comes from the violin academic artistic and creative activity of L. Spohr and, in general, and of high performing skill as a virtuoso violinist.

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39

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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40

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 nonmusicians responded to a matching procedure in which unedited signals of one phrase were choice stimuli and edited signals for two different phrases served as models. Two replications of all possible combinations of instrument, phrase, and edit conditions were presented for a total of 72 items. Two additional groups of musicians and nonmusicians participated in an identical procedure in which the stimuli were single notes extracted from two phrases. Analyses revealed that, for the whole-phrase signals, there was no case in which the means obtained with the "normal" signal and the "time variant steady state alone" signal were statistically different; these means were always statistically higher than the "transients alone" mean. It was concluded that transients were neither sufficient nor necessary for the categorization of trumpet, clarinet, and violin in whole-phrase contexts. The time- variant quasi-steady state was sufficient and necessary for the categorization of trumpet and violin phrases, and it was sufficient but not necessary for the categorization of clarinet phrases. For the single- note stimuli, "transients alone" yielded means statistically equivalent to the "normal" and "time variant steady state alone" means. It was concluded that transients were sufficient, but not necessary, for instrument categorization in single-note contexts. The whole-phrase context yielded significantly higher means than the single-note context; music majors performed the task with greater accuracy than nonmusic majors.

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41

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 piece is studied seriously, with the directions you will find in this study, the work can help clarinetists in their quest for perfection.

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42

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 for this instrument in the context of the Russian composer’s heritage requires multi-vector phased coverage, which determined the relevance of the study.

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43

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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44

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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45

Hazebrouck, Guillaume. "PIGMENTS and the Clarinet Choir." Dossier spécial Léon-Gontran Damas, no. 116 (August 13, 2020): 86–89. http://dx.doi.org/10.7202/1071048ar.

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46

Lawson, Colin. ""The Clarinet" by Eric Hoeprich." Performance Practice Review 13, no. 1 (2008): 1–5. http://dx.doi.org/10.5642/perfpr.200813.01.11.

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47

Lindevald, Ian M., and Jason Gower. "Vibrational modes of clarinet reeds." Journal of the Acoustical Society of America 102, no. 5 (1997): 3085. http://dx.doi.org/10.1121/1.420211.

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48

Strong, William J., and Scott D. Sommerfeldt. "Directivity of a simplified clarinet." Journal of the Acoustical Society of America 99, no. 4 (1996): 2501–29. http://dx.doi.org/10.1121/1.415669.

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49

Rice, Albert R., and Colin Lawson. "The clarinet and chalumeau revisited." Early Music 14, no. 4 (1986): 552–56. http://dx.doi.org/10.1093/earlyj/14.4.552.

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Charlton, David. "Classical clarinet technique: documentary approaches." Early Music XVI, no. 3 (1988): 396–406. http://dx.doi.org/10.1093/earlyj/xvi.3.396.

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Journal articles on the topic 'Clarinet'

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