Dissertations / Theses: 'Concerto for Clarinet'

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Brook, Taylor. "Mitya: Concerto for clarinet." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95001.

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Mitya: Concerto for Clarinet is a composition for solo Bb clarinet, large ensemble and electronics. The work is in three movements, each movement utilizing a different approach to extended just intonation in its pitch structure. The pitch structure of the first movement is designed around a single pitch, held by the clarinet soloist, which takes on a variety of just relationships in the harmony as other pitches change in relation to it. The second movement is a type of passacaglia which continuously modulates up a just major third at each repetition of the passacaglia theme. These untempered modulations cause the the harmony to move further and further away from equal temperament. The third movement features a tonal centre, in relation to which harmonies become progressively more complex. Throughout the piece, the electronics are used to help realize the mictrotonal harmonic structures by diffusing precisely tuned pitches for the intrumentalists to tune to. Ce concerto pour clarinette, Mitya, est une composition pour clarinette solo, grand ensemble et électroniques. L'idée principale de la pièce est d'examiner trois conceptions harmoniques utilisant l'intonation juste étendu (gamme naturelle). Mitya est en trois mouvements. Chaque mouvement est défini par une tonalité et un système harmoni que différent. Le premier mouvement a comme note centrale un La, joué par la clarinette pendant tout le mouvement. Les harmonies aparraissent et disparraisent autour de ce La, y conférant ainsi plusieurs fonctions harmoniques. Le deuxième mouvement est une passacaille dont le thème module à la tierce majeure naturelle ascendante à chaque itération. Ces modulations non-tempérées font que la musique s'éloigne progressivement du tempérament égale. Le troisième et dernier mouvement se concentre sur un Ré comme note centrale. En relation avec ce Ré, les harmonies deviennent de plus et plus complexes. Tout au long de la pièce, les électroniques servent à réaliser des structures harmoniques non-tempérées sur lesquelles les musiciens pourront accorder précisement leurs microtons.

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Kothman, Keith. "Concerto for clarinet and chamber orchestra /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9824645.

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Tseng, Su-ling. "Gerald Finzi's Concerto for clarinet and string orchestra /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983130.

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Luttik, Karen. "An analysis of Géza Frid’s Concerto for Clarinets, Op. 82 (1972): Rediscovered repertoire by a Hungarian, Jewish, Dutch composer." Thesis, Boston University, 2017. https://hdl.handle.net/2144/21329.

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Thesis (D.M.A.)--Boston University. This item includes the dissertation paper, handouts, as well as a video of the February 26, 2017 lecture and clarinet performance by Karen Luttik. Géza Frid (1904-1989) was a significant Hungarian-born Dutch composer and pianist of Jewish descent. His compositional style was highly regarded in the Dutch musical scene of the 20th century; his music has been programmed on multiple occasions by the Concertgebouw Orchestra and in 1949 and 1954 won the City of Amsterdam Music Award. Major influences on Frid’s musical development started in his native Hungary where he studied with Béla Bartók and Zoltán Kodály before his move to the Netherlands. In 1972, he composed an unusually lovely concerto for Bb, A, Eb and bass clarinets (Op. 82) and dedicated it to George Pieterson, principle clarinet with the Concertgebouw Orchestra. Scholarly discussions of Géza Frid’s clarinet music are not to be found in either the US based International Clarinet Society’s The Clarinet, or in the Dutch based De Klarinet. Intensive World Cat library searches have yielded no recordings of this piece, and currently there is not even one recording of Frid’s Concerto for Clarinets on YouTube or in the Naxos Music Library. The Concerto for Clarinets is a significant addition to the standard clarinet repertoire and needs to be introduced to the world wide clarinet community. Furthermore, save for some short selections on the Géza Frid website set up by his son, Arthur Frid and a Wikipedia article, no translations exist of Géza Frid’s autobiographical material. His life story was exceedingly interesting, having been a Jewish composer during the World War II years who was not allowed to perform or compose for years during the German occupation of the Netherlands. Luckily he survived the war years by going into hiding; he managed as part of the musician’s resistance to find ways to perform and work illegally giving clandestine concerts and falsifying documents. These were exceedingly dangerous risks, yet ones Géza Frid and his fellow musicians were willing to take because of their music. Frid published two autobiographical books and numerous articles for the Dutch music magazine Mens en Melodie, (People and Melody) revealing his deep musical insights; especially those relating to the music of the Concerto need to be summarized and translated to English from Dutch. This paper provides a general overview of the historical aspects of Géza Frid’s life, his WWII experiences, and his position as one of many persecuted Jewish musicians at the time. Géza Frid’s autobiographical information relating to his personal friendships with Bartók and Kodály is of interest when considering his music. Summaries and some translations are made of his two Dutch language autobiographical books, In 80 Jaar de Wereld Rond (Around the World in 80 Years) and Oog in Oog Met… (Eye to Eye With…). A basic analysis of Frid’s Concerto for Clarinets is provided regarding form, the various instrument appearances, and a special feature invented by George Pieterson called the ‘tremolo special’. Since this concerto was specifically composed for the Reformed Boehm system clarinets which George Pieterson used, a discussion of the differences between the French, German and Reformed Boehm clarinet systems is included. The performance portion of this project is a historically informed performance of this piece on the specific models of clarinets for which it was written. George Pieterson passed on in April 2016, and this project is a fitting tribute of his teaching to a generation of professional clarinetists in the Netherlands including the author.

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Carter, Justin Munro. "The South African clarinet concerto : An examination of the clarinet genre within the South African context." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/6847.

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In exploring the South African Clarinet Concerto, this discourse focusses on nine pieces that have been written within this genre and within the South African context. With this in mind, the aim is to look at each of these works, and then examine them from their points of origin, through to their stylistic conception and their musical characterisation. Up to this point, there has been very little discourse, almost none in fact, that has focussed on this genre within the South African Classical music domain, and as such this research hopes to break some ground by taking this broad look at the clarinet concerto genre from a local standpoint. While at the same time bringing insights and reflections upon these pieces from the composer's points of view, and then commenting and analysing the formal structure and harmonic language they contain. Ultimately, by examining all the sides of this musical story, and by keeping in mind the historical context and more in-depth examinations of the solo clarinet parts, this aspiringly ground-breaking discussion looks towards highlighting what amounts to a much undervalued genre within South African Music.

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Duhaime, Ricky Edward. "A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331084/.

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The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.

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Locke, Scott A. "The accompanied clarinet works of Eugene Bozza : descriptive analysis and performance guide with emphasis on the clarinet concerto." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026699.

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French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet. School of Music

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Ramirez, Castrillo Ana Catalina. "Costa Rican Composer Carlos Escalante Macaya and his Concerto for Clarinet and Strings." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/272856.

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Music Performance D.M.A. The purpose of this monograph is to promote Costa Rican academic music by focusing on Costa Rican composer Carlos Escalante Macaya and his Concerto for Clarinet and Strings (2012). I hope to contribute to the international view of Latin American composition and to promote Costa Rican artistic and cultural productions abroad with a study of the Concerto for Clarinet and Strings (Escalante's first venture into the concerto genre), examining in close detail its melodic, rhythmic and harmonic treatment as well as influences from different genres and styles. The monograph will also include a historical context of Costa Rican musical history, a brief discussion of previous important Costa Rican composers for the clarinet, a short analysis of the composer's own previous work for the instrument (Ricercare for Solo Clarinet) and performance notes. Also, in addition to the publication and audio/video recording of the clarinet concerto, this document will serve as a resource for clarinet soloists around the world. Carlos Escalante Macaya (b. 1968) is widely recognized in Costa Rica as a successful composer. His works are currently performed year-round in diverse performance venues in the country. His compositions vary widely, including orchestral, choral, and chamber music works, as well as music for dance, theater, and film. He is associate composer for the national dance and theater companies, and also receives many other commissions. He has received important national and Latin American composition awards, but his music, as that of other Costa Rican composers, is yet to be discovered outside of Latin America. Only one book, Música académica costarricense: Del presente al pasado cercano (2012), includes a commentary on Carlos Escalante Macaya. In it Costa Rican musicologist Ekaterina Chatski briefly analyzes two of his most important compositions: Los huesos tristes, commissioned in 2006 for the Choreographer's Festival, and Sinfonía Centenario (1997), winner of the Latin American Composition Competition of the centenary of the National Theater of Costa Rica. This book also includes a short biography of the composer and a list numbering 81 of his compositions up to the year 2008. The composer provided most materials necessary for my study, including multiple scores, inspirational visual materials, as well as a full interview (completed August 12, 2013) that will be included as an appendix. It is also important to mention that this concerto was written for me. The composer made significant effort to create a piece that would be, in his own words, a "perfectly fitted dress." My feedback ultimately made this piece what it is today, and my premiere of it on September 14, 2012, with the National Symphony Orchestra of Costa Rica, was an absolute success. This piece was so well received by the Costa Rican public that it was included in the National Symphony Orchestra of Costa Rica's latest CD recording of Costa Rican Music Composers. This recording is the first album of the National Symphony Orchestra to include a solo artist, so it is an honor for me to have been part of this wonderful project. Having been involved in all stages that brought this piece to life, I believe I am in the best position to present an analysis of the piece, to provide a historical background, and to offer performance recommendations for the future. Temple University--Theses

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

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

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Bonacossa, Federico. "Materials and Techniques in D’improvviso da immobile s’illumina, for Bass Clarinet, Two Orchestras, Piano and Percussion." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/989.

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D’improvviso da immobile s’illumina is a concerto for bass clarinet, two orchestras, piano, and percussion, that I composed during my graduate studies at Florida International University in Miami. The work is approximately 16 minutes long and is scored for 30 independent instrumental parts in addition to the bass clarinet soloist. Although the piece does not incorporate electronics, electronic music was a major influence in its creation, and the computer was used extensively as a compositional tool. In addition, the writings of Henry Cowell and the music of Sofia Gubaidulina influenced the concerto in a number of ways. While writing this work, I had to discover new ways to allow pure instinct to intermingle with strict calculation. This paper will discuss in detail the various techniques used in the creation of the concerto as well as some of the works that influenced it.

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Monroe, Douglas C. "Conflict and meaning in Carl Nielsen's Concerto for clarinet and orchestra, Op. 57 (1928)." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211657191.

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Monroe, Douglas Charles. "Conflict and Meaning in Carl Nielsen’s “Concerto for Clarinet and Orchestra, Op. 57 (1928)”." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211657191.

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Dietrich, Lauren Nichole. "The Latin American Influence on Copland's Works| El Salon Mexico, Danzon Cubano, and the Clarinet Concerto." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784683.

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Aaron Copland (1900-1990) spent much of his mid-life traveling throughout the countries of Latin America by request of composers, such as Carlos Chávez, and the United States government as an ambassador for the Advisory Committee on Music. During this time, Copland began to connect with the people and music of the countries he visited. These relationships played a role in Copland’s compositional style, as he began to digress from the music he wrote in the earlier part of his career. The music he composed at this time featured idiomatic jazz rhythms and twelve-tone technique and some of his music also incorporated the sounds he heard on his travels throughout Latin America. El Salón México (1936), Danzón Cubano (1942), and the Clarinet Concerto (1949) are all works that encapsulate Copland’s visits to several Latin American Countries. They are representative of the people he met and of the music he heard. This project report will take a closer look at these three works and examine how Copland’s experiences throughout the Latin American countries are reflected in the music he composed at the time of his travels.

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Hill, James Walter 1951. "The D Major Clarinet Concerto by Theodor von Schacht (1748-1823): A Lecture Recital, Together with Three Additional Recitals of Selected Works of Brahms, Richmond, Rossini, Crusell, Reger, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc798331/.

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The dissertation consists of four recitals: repertoire consisting of solo compositions, music for clarinet alone, chamber music, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The D Major Clarinet Concerto by Theodor von Schacht, discusses background for the development of the clarinet in different pitches and gives pertinent bibliographical and historical information on the life and works of Theodor von Schacht. A formal and stylistic analysis is then followed by a short discussion of the problems involved in the transcription and performance of the work: possibly the first solo concerto ever written for the clarinet in A. The lecture concludes with the first performance of The D Major Clarinet Concerto for clarinet in A with orchestral accompaniment reduced for piano.

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Lin, Sheng. "Ran, Shulamit: Concerto da Camera II, Analysis of Pitch and Formal Structure." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2518/.

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The thesis speculates upon the three movements of Concerto da Camera II (1987), scored for Bb clarinet, string quartet and piano) in these four aspects: 1) the formal structure, 2) the manipulation of the notes of whole-tone, octatonic, and chromatic scales in octave displacement, 3) the potential combination of subsets that present different levels of pitch transformation in melodic and harmonic structure, and 4) the usage of intervals of minor seconds, tritones, and perfect fourths or fifths which dominates the linear writing. All of these features demonstrate that the music has strong structural elements in form, motives, and sonorities, which unify the piece in an aurally coherent style as an organic whole. This study should provide more insight into the understanding of Ran's unique compositional technique and style.

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Burns, Caryn L. "CONCERTO FOR HARPSICHORD, FLUTE, OBOE, CLARINET, VIOLIN, AND VIOLONCELLO BY MANUEL DE FALLA: AN (AUTO)BIOGRAPHICAL READING." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1144356651.

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Lapinski, Bobby (Robert M. ). "The Orchestral Clarinetist's Guide to Selected Second Clarinet Excerpts." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984160/.

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Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.

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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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Turley, Sarah Leigh. "Richard Strauss's Duett-Concertino a study of the programmatic elements for the performer /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.unt.edu/theses/open/20041/turley%5Fsarah%5Fleigh/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2004. Accompanied by 5 recitals, recorded Feb. 26, 2001, Nov. 12, 2001, Aug. 8, 2002, July 21, 2003, and Oct. 27, 2003. Includes bibliographical references and discography (p. 40-46).

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Montoya, García Elvira. "Escritura e instrumento. Conceptos interrelacionados." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29969.

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El trabajo desarrollado a continuación analiza la evolución de la escritura del repertorio de clarinete desde el Clasicismo hasta el siglo XX. Para ello he tenido en cuenta un factor de vital importancia en el que me apoyaré para avanzar en este proyecto; me refiero naturalmente a la evolución del instrumento. Con ello no pretendo describir la evolución organológica paso a paso, sería inabarcable en este trabajo, simplemente me ciño a tres momentos concretos. Las obras elegidas para llevar a cabo este estudio son representativas de algunos de los períodos más importantes de la Historia de la música, así como relevantes de la propia literatura del clarinete. - Clasicismo: Concierto para clarinete KV 622 de W. A. Mozart. - Romanticismo: Piezas de fantasía op. 73 de R. Schumann. - Siglo XX: Primera Rapsodia para clarinete de C. Debussy, Tres Piezas para clarinete solo de I. Stravinsky y Sonata para clarinete y piano de F. Poulenc. La estructura del trabajo se divide en cinco secciones, como cinco son las corrientes estilísticas que abarca. Comenzaré realizando una reseña bibliográfica del compositor a tratar. En segundo lugar, trataré las circunstancias en la que fue escrita la obra, abordando las características de la misma junto a un esquema analítico. Por último, relacionaré la forma en la que las mejoras técnicas que van apareciendo en el clarinete afectan a la escritura de la música en la que es protagonista, utilizando pasajes representativos de cada una de las obras que interpretaré en mi recital; ABSTRACT: Composition and instrument. Interrelated concepts. The task here developed aims to analyze the evolution of clarinet writing from classicism to the twentieth century. In order to achieve this I have taken into consideration a fundamental matter which I have set as the base of my research and followed progressively, I am referring to the evolution of the instrument itself. Nevertheless I do not intend to describe such evolution step by step as it would be out of this task's scope. I am just going to be making reference to three specific moments in time. The works chosen to carry this research are representative of some of the most important periods in music history as well as relevant in relation to the literature for clarinet. - Classicism: Clarinet Concerto KV 622 by W. A. Mozart. - Romanticism: Fantasy Pieces op. 73 by R. Schumann. - 20th Century: Première Rhapsodie by C. Debussy, Three Pieces for solo clarinet by I. Stravinsky and Sonate for clarinet and piano by F. Poulenc. The task is structured in five sections, as five are the stylistic currents it deals with. I am going to start by providing a bibliographical report on the composer here studied. Secondly I am going to develop on the circumstances in which each work was written, looking at their features and analyzing them by means of a diagram. Finally I am going to conect the way the best techniques for clarinet have affected music writing through the use of representative passages of each work that I am playing in my recital; RESUMO: Escrita e instrumento. Conceitos interrelacionados. O trabalho desenvolvido a seguir analisa a evolução da escrita do repertório para clarinete desde o Classicismo até o século XX. Para isso, levei em consideração um fator de vital importância com o qual contarei para avançar neste projeto; Refiro-me naturalmente à evolução do instrumento. Com isto não pretendo descrever passo a passo a evolução organológica, seria interminável neste trabalho, limitando-me apenas a três momentos específicos. As obras escolhidas para realizar este estudo são representativas de alguns dos períodos mais importantes da História da música, bem como relevantes para a própria literatura clarinete. - Classicismo: Concerto para clarinete KV 622 de W. A. Mozart. - Romantismo: Peças de fantasia op. 73 por R. Schumann. - Século 20: Primeira Rapsódia para clarinete de C. Debussy, Três peças para clarinete solo de I. Stravinsky e Sonata para clarinete e piano de F. Poulenc. A estrutura da obra está dividida em cinco seções, sendo cinco as correntes estilísticas que ela engloba. Começarei fazendo uma revisão bibliográfica do compositor a ser tratado. Em segundo lugar, tratarei das circunstâncias em que a obra foi escrita, abordando suas características juntamente com um esquema analítico. Por fim, relatarei a forma como as melhorias técnicas que surgem no clarinete afetam a escrita da música da qual ele é o protagonista, utilizando passagens representativas de cada uma das obras que irei apresentar em meu recital.

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Thompson, Phil A. "A Historical Survey of Woodwind Doubling and A Form/Style Analysis of Four Works for Doubler and Wind Ensemble, a Lecture Recital together with Three Recitals of Selected Works by W.A. Mozart. A. Glazounov. P. Tate. A. Szalowski. A. Copland and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278544/.

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Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

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Alencar, Henrique Villas Boas de. "Estudos interpretativos para a construção de uma edição crítica do concertino para clarineta de Francisco Mignone." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-20012015-114928/.

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O presente trabalho trata da investigação dos procedimentos composicionais utilizados no Concertino para Clarineta, de Francisco Mignone, por meio da identificação e da comparação das diversas fontes da obra em diálogo com a \"tradição oral\". Tem como objetivo elucidar questões técnicas observadas na partitura orquestral manuscrita e suas possíveis resoluções em virtude da performance. Para tanto, desenvolve conteúdo com vistas à produção de uma edição crítica da obra The present work deals with the investigation of compositional procedures used in the Concertino for Clarinet by Francisco Mignone through the identification and comparison of different sources of the work in dialogue with the \"oral tradition\". Aims to clarify technical issues observed in handwritten orchestral score and their possible resolutions to the performance. For that, develops content in order to produce a critical edition of the work.

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Horst, Raymond C. "Graduate clarinet recital." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27771.

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

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

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Lewis, Stephen Edward Lewis Stephen Edward Lewis Stephen Edward Lewis Stephen Edward. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464858.

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Thesis (M.A.)--University of California, San Diego, 2009. The 1st work for violin, clarinet, violoncello; the 2nd for piano with chamber orchestra; the 3rd for 2 flutes (1 doubling on piccolo), 2 clarinets, 2 violoncellos. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

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Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.

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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.

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Merrick, Linda. "Collaboration between composers and performers : recent British clarinet concertos." Thesis, Birmingham City University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404146.

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Taylor, Anthony Gordon. "John Adams’s Gnarly Buttons: Issues of History, Performance and Style." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1185548983.

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Morell, Katie Marie. "Contemporary Clarinet Music in Finland:Three Concertos by Finnish composers commissioned for Kari Kriikku." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408958601.

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McConnell, Sarah E. "Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max Reger." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248493/.

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Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.

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

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

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

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

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Koberstein, Gustavo Herman. "Francisco Mignone's Concertino para clarineta e fagote: A performance edition." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1665.

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Francisco Mignone was born in São Paulo on September 3, 1897 and died on February 19, 1986. A representative of Brazilian Nationalism and one of the most influential national composers, Mignone was active and prolific through his entire life. Few works of Francisco Mignone's late period are known and performed; nevertheless the interest in Mignone's work has been growing. Since many of his works are not published, efforts to discuss and prepare performance editions of his scores are of great importance. The Concertino para clarineta e fagote is representative of Francisco Mignone's last compositional period that, although written using a universal way of treating dissonances, intervals, or different pitch hierarchies, it is very Brazilian in its essence. The present performance edition highlights the human aspect of Mignone's character through an overview of the composer's last compositional period and compositional techniques. This essay contextualizes the Concertino within the composer's career and presents a performance analysis of the piece. It also contains a list of Mignone's works for the bassoon and a list of prizes awarded to the Brazilian composer.

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Miranda, Paula Cristina Ferreira. "Missão sonosfera: projeto de criação musical em sala de aula a partir do conceito de paisagem sonora." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/17775.

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Mestrado em Ensino de Música O presente trabalho relata a Prática de Ensino Supervisionada decorrida durante o ano letivo 2015/2016 na Escola de Artes da Bairrada (Troviscal), bem como a implementação de um projeto de criação musical em sala de aula com quinze alunos de clarinete da escola acima referida e da Escola de Música de Antas (Esposende). Durante dois meses decorreram sessões semanais em grupos, envolvendo momentos de exploração sonora, improvisação, criação, e que culminaram numa performance final em conjunto – MISSÃO SONOSFERA. Todo o processo criativo deste projeto partiu do conceito de paisagem sonora. Este trabalho pretende, através da partilha de uma experiência prática, levar à reflexão sobre a pertinência da implementação de práticas pedagógicas criativas no ensino da música e do instrumento. The thesis presented gives a report of the Supervised Teaching Practice in the 2015/2016 academic year, in the School of Arts of Bairrada (Troviscal), as well as the implementation of a music creation project with fifteen students from the aforementioned school and from the Music School of Antas (Esposende). For two months, there were weekly group sessions that involved moments of exploration of the sound, improvisation, and creation of music that culminated in a final ensemble performance – MISSÃO SONOSFERA. All of the creative process of this project stemmed from the concept of soundscape. Through the sharing of a practical experience, this essay aims to reflection on the relevance of creative pedagogical practices in both music and instrumental teaching.

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Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.

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This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is scored for solo viola and chamber orchestra. A cassette copy of the recital is available with this book. Arts, Faculty of Music, School of Graduate

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

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

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Holmander, Magnus. "Nordiska mästare." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2685.

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Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.

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Ribeiro, Hudson de Sousa. "Concertino para clarinete e orquestra de c?mara de Jos? de Lima Siqueira: uma abordagem interpretativa." PROGRAMA DE P?S-GRADUA??O EM M?SICA, 2016. https://repositorio.ufrn.br/jspui/handle/123456789/21927.

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-02T14:51:09Z No. of bitstreams: 1 HudsonDeSousaRibeiro_DISSERT.pdf: 24014474 bytes, checksum: 98aa9b3af11207e0f6d6377e7b55277b (MD5) Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-02-09T18:11:43Z (GMT) No. of bitstreams: 1 HudsonDeSousaRibeiro_DISSERT.pdf: 24014474 bytes, checksum: 98aa9b3af11207e0f6d6377e7b55277b (MD5) Made available in DSpace on 2017-02-09T18:11:43Z (GMT). No. of bitstreams: 1 HudsonDeSousaRibeiro_DISSERT.pdf: 24014474 bytes, checksum: 98aa9b3af11207e0f6d6377e7b55277b (MD5) Previous issue date: 2016-08-10 O presente trabalho discutir? sobre o Concertino para Clarinete e Orquestra de C?mara de Jos? de Lima Siqueira (1907-1985) atrav?s de uma abordagem interpretativa. Trata-se de uma obra para clarineta solista e orquestra reduzida, escrita em 1969 e dedicada ao clarinetista brasileiro Jos? Cardoso Botelho. O objetivo deste trabalho ? estudar as caracter?sticas musicais e as possibilidades interpretativas visulizadas, al?m da narrativa de aprendizado do autor desta pesquisa e uma sugest?o de como tocar o ?Mi b2? com uma clarineta boehm de 17/18 chaves na cad?ncia. O trabalho est? dividido em: introdu??o onde abordaremos o elo entre o compositor e o int?rprete; cap?tulo 1, onde traremos uma revis?o bibliogr?fica e informa??es relevantes sobre o compositor; No Cap?tulo 2 iremos expor uma an?lise da obra e informa??es sobre Jos? Botelho e de como ele executou esta obra; finalmente, no cap?tulo 3 evidenciaremos sugest?es de como se vencer as passagens t?cnicas de alta complexidade existentes. This paper will discuss the Concertino for Clarinet and Jos? Chamber Orchestra of Lima Siqueira (1907-1985) through an interpretative approach. This is a work for clarinet soloist and chamber orchestra, written in 1969 and dedicated to the Brazilian clarinetist Jos? Cardoso Botelho. The aim of this work is study musical characteristics and displaying interpretative possibilities, as well as the author of this research, learning narrative and a suggestion of how to play the Mi flat 2 with a clarinet 17/18 keys in Cadence. The work is divided into introduction where we discuss the link between the composer and the performer, chapter 2 we will bring a literature review and relevant information about the composer. In chapter 3 we?re going to expose analysis of the piece and information on Jos? Botelho and how he performed this work, finally, in chapter 4 we will evidence suggestions on how to overcome the existing technical passages of high complexity.

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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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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.

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Johnson, Luke D. "An examination of the works of Mother Earth by David Maslanka, English Folk Song Suite by Ralph Vaughan Williams, Symphony #1 In Memoriam Dresden - 1945 by Daniel Bukvich, and Concertino for B[flat] clarinet by Carl Maria Von Weber, OP. 26 arranged by M.L. Lake." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/977.

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Schmidt, Johann Christoph. "Motetto Auf Gott hoffe ich: Für Alto-Solo, Coro (Soprano, Alto, Tenore, Basso) und 2 Clarini in D, 2 Trombe in D, Tympani, 2 Flauti allemando, 2 Violini, 2 Viole Fagotto e Basson concertato, Violoncello, Organo, Tiorba: Partitur." Ries & Erler, 2020. https://slub.qucosa.de/id/qucosa%3A74090.

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Die „Denkmäler der Tonkunst in Dresden“ veröffentlichen in sieben Bänden Werke des Dresdner Hofkapellmeisters Johann Christoph Schmidt (1664-1728) aus Hohnstein/Sächsische Schweiz, einem von der Dresdner Musikgeschichtsschreibung vergessenen Komponisten. Als erster Band erscheint unter der Editionsnummer 22 die Partitur des Motetto „Auf Gott hoffe ich“ für Alt-Solo, Chor und Orchester für 14 Stimmen. Die Ausgabe basiert auf einer Übertragung von Kirchenmusikdirektor Ulrich Meier, Auerbach/Vogtland, die im Rahmen einer Diplomarbeit an der Hochschule für Kirchenmusik Dresden 2001 entstand. Das Werk existiert nur in einer fehlerfreien Abschrift von Johann Sebastian Bach, die dieser vermutlich zwischen 1714 und 1716 offenbar für den eigenen Gebrauch in Weimar angefertigt hat.

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Yen-Jung, Chu, and 朱嬿蓉. "Carl Nielsen: Clarinet Concerto, op.57." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/48077566317458995183.

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Yeo, Lisa Lorraine Gartrell. "Copland’s clarinet concerto : a performance perspective." Thesis, 1996. http://hdl.handle.net/2429/4810.

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Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.

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Nytch, Jeffrey Curtis. "Concerto for Clarinet and Orchestra. (Original composition)." Thesis, 1994. http://hdl.handle.net/1911/16798.

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Concerto for Clarinet and Orchestra was composed for Richard Stolzman and the Seattle Symphony, with a recording of the work planned for 1995 on the Master Musicians Collective Label. The work follows the Classical model of three movements (fast, slow, fast), with the first movement in a traditional sonata form. The second movement is a freer, meditative movement, and the final movement is a modified rondo-variations. The work attempts to reflect the Classical ideals of clarity of form, structure and orchestration, while the technical demands made on the players are within the idiomatic limits of their instruments. The concerto is sixteen and one-half minutes long and is scored for pairs of winds (with an additional clarinet), four horns, three trumpets, three trombones, timpani, percussion (three players), harp, clarinet solo and strings.

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Chang, Wen-Hsin, and 張文馨. "The Interpretation of William Bolcom Clarinet Concerto." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/xtx895.

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Dallaire, Charles Joseph Mario. "The clarinet in solo, chamber and concerto repertoire." Thesis, 1990. http://spectrum.library.concordia.ca/4908/1/NN59180.pdf.

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HUANG, HAO-HSUAN, and 黃浩軒. "Concerto for Clarinet and String Orchestra with Harp and Percussion." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/27673308742172686744.

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Chen, Hsiao-Peng, and 陳曉芃. "A Study and Performance Interpretation of Aaron Copland’s Clarinet Concerto." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/05826092567776806539.

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碩士 國立高雄師範大學 音樂學系 103 This study focuses on the musical background, analysis, interpretation and performance suggestions of the Clarinet Concerto by the American composer Aaron Copland (1900-1990). The work was commissioned by the American clarinetist, also known as the “King of Swing,” Benny Goodman (1909-1986). This concerto combines concepts of jazz music and folk rhythms which Copland heard in Brazil when he was invited to visit South America. The study is divided into four chapters. Chapter one is a brief outline of the motives, goals, and scope of this research. Chapter two is an introduction of the composer’s life and a background overview of this concerto. 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, performances 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 concerto.

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Dissertations / Theses on the topic 'Concerto for Clarinet'

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