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Dissertations / Theses on the topic 'Sonatas (Bassoon and clarinet)'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.

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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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3

Stomberg, Eric Wolf. "The Bassoon Sonatas of Victor Bruns: An Analytical and Performance Perspective (With an Annotated Bibliography of Works for Bassoon)." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085628883.

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Chiu, Yi-Chen. "An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505211031612502.

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Stomberg, Eric. "The bassoon sonatas of victor Bruns an analytical and performance perspective (with an annotated bibliography of works for bassoon) /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085628883.

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Seymour, John. "Syncretisms for wind quintet and percussion, a study in combining organizational principles from Southeast Asia with western stylistic elements /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6055.

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Thesis (M.M.)--University of North Texas, 2008.
For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).

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

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8

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

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

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Smith, Andrew Martin. "Remnants." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237661688.

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Thesis (M.M.)--Bowling Green State University, 2009.
Document formatted into pages; contains 1 score (vi, 29 p.) For clarinet, bassoon, and chamber orchestra (two trumpets, two horns, tenor trombone, bass trombone, percussion, piano, harp, and strings (six first violins, six second violins, four violas, four cellos, and two basses) Includes bibliographical references.

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

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

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Harris, Joshua Kimball. "“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407859/.

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Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces” are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.

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Walzel, Robert L. "Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278713/.

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The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.

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Cheng, Yu-sum Anthony, and 鄭汝森. "An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.

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

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

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Piddocke, Melanie Anne. "Theodor Lotz : a biographical and organological study." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7707.

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This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. Despite this, no study has been undertaken into his life and many of his surviving instruments have not been studied. This study corrects this by examining both the biographical and organological aspects of this maker. In Chapter 1, the current knowledge of Lotz’s biography is examined for veracity. This has been achieved through consultation of archival sources such as birth and marriage registers and contemporary newspaper announcements. The biographies of the other significant Viennese makers have also been examined in order to determine their relationship to Lotz. Particular attention has been paid to those makers known to have associated with him. Chapter 2 is a comparative study of clarinets. The surviving clarinet by Lotz is the main focus, and it is compared to earlier Viennese instruments as well as other contemporary instruments in order to place Lotz’s instruments in context. Basset horns are the instruments for which Lotz is best known. Chapter 3 is a comparative study of the surviving basset horns, and includes instruments by Lotz which have not previously been studied. The comparative aspect of the study focuses most particularly on instruments by Doleisch, who also made significant numbers of basset horns in nearby Prague during Lotz’s lifetime. This chapter also includes a discussion on the basset clarinet. Chapter 4 studies Lotz’s work with bassoons and contrabassoons. As with Chapter 3, it includes a number of Lotz’s instruments which have not been studied before. It continues the comparative theme and examines not only Viennese instruments, but particularly those by August Grenser, whose bassoons are widely copied by modern makers. The attribution of the surviving flute by Lotz is examined in Chapter 5. Lotz’s involvement with the flute is examined through documentary evidence and the output of his students is examined in order to determine his level of influence on this instrument. Chapter 6 is a study of the two surviving oboe fragments by Lotz as well as the surviving cor anglais. As internal measurements have been impossible to obtain for many of these instruments, the comparative study has instead focussed on external aspects of decoration and design. The conclusion gives a summation of the evidence presented in the preceding chapters and is used to demonstrate Lotz’s unique contributions as an instrument maker and his impact on the future and design of woodwind instruments.

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

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

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20

Seymour, John. "Syncretisms for wind quintet and percussion: A study in combining organizational principles from Southeast Asian music with western stylistic elements." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6055/.

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Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.

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

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22

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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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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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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Bowling, Micah. "Intraoral Pressure and Sound Pressure During Woodwind Performance." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849677/.

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For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.

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Gratton, J. Brian (John Brian). "Three Motivic Topics in Beethoven's Piano Quintet, Op. 16." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278612/.

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The first movement of the Piano Quintet, Op. 16 of Ludwig van Beethoven works out three significant motivic "topics": a chromatically filled-in second, appearing first as 5 - #5 - 6 (Bb - B - C in Eb major); the emphasis om the submediant, both as vi in Eb major and as the tonal region of C minor; and the melodic interval of the sixth, which, when inverted to become a descending third, determines the structure of tonal regions at crucial points in the movement. These three motivic topics are introduced in the opening measures of the piece and are subsequently unfolded throughout the movement; the focus of the thesis will be to trace the unfolding of these three topics.

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Bretz, Jacqueline Therese. "The Reed Trio: Analysis of Works by Ibert, Francaix and Schreiner with a Representative Repertoire List." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366236512.

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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.

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Leffler, Hannah. "A National Idiom Universally Understood: Brazilian Tradition and Personal Evolution in Osvaldo Lacerda's "Variações e Fuga para quinteto de sopros"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248512/.

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The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

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Becker, Rachel Nicole. ""Trash music" : valuing nineteenth-century Italian opera fantasias for woodwinds." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/279018.

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Opera fantasias have been denigrated as insufficiently intellectual or serious, as derivative, as merely popular or sentimental. However, many of the perceived flaws were, if not hallmarks, at least accepted realities of Italian opera composing. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. I approach opera fantasias, instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material, both historically and theoretically, concentrating on compositions written for and by woodwind-instrument performers in Italy in the second half of the nineteenth century. Important overlapping strands in my theoretical framework include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. I have uncovered a large body of compositions and composers, many of whom have not been written about in English, through archival research in Milan, Naples, Parma, Bologna, and Palermo. This reveals trends in operas used for fantasias, temporally, spatially, and between instruments, as well as further trends in the use of specific melodies. I use contemporary reviews of performances and compositions to attest to the popularity of the opera fantasia throughout the second half of the nineteenth century in Italy, including oboist Antonio Pasculli as a case study. This often overlooked genre is intimately tied to the central canon and deeply connected to its social and musical contexts. Approaching the opera fantasia as a coherent and meaningful group of works clarifies a genre that has been consciously stifled and cultural resonances that still impact music reception and performance today.

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Ciarlariello, Christopher. "Graduate Recital, Clarinet, Flute, Bassoon." 2012. http://digital.library.duq.edu/u?/etd,154213.

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This recital features three members of the woodwind family: clarinet, flute, and bassoon. The primary focus of this recital is on the clarinet repertoire. The music ranges across the eras, from Baroque to 20th Century, and is written by composers from North America and Europe. Along with the wide range of compositional styles, the music presents the virtuosity and range of the woodwind family. Brahms�� Sonata for Clarinet and Piano, No. 1 demonstrates a very classical approach to the clarinet after he was inspired by clarinetist Richard M��hlfeld. Harvey��s Three Etudes on Themes of Gershwin focuses more on a jazz and theatrically inspired side of the clarinet. Copland��s Clarinet Concerto, composed for Benny Goodman, incorporates classical, jazz, and North and South American elements. All of these works exemplify the woodwind family and their capabilities.
Mary Pappert School of Music
Music Performance
MM;
Recital;

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Birmingham, Lindsay Kubík Ladislav. "Trio for clarinet, bassoon and piano." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-09172003-161756/.

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Thesis (M.M.) -- Florida State University, 2003.
Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-27-04). Document formatted into pages; contains 38 pages. Includes biographical sketch.

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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16988.

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

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

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Introduction and rondo for clarinet and piano / Ch.-M. Widor -- Chromatic fantasy / J. S. Bach -- Sonata for clarinet and piano, op.128 / Mario Castelnuovo-Tedesco -- One of a kind / Mark Phillips.
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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2010. http://hdl.handle.net/2152/15888.

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Kao, Lo-Chien. "Master's thesis recital (collaborative piano)." Thesis, 2012. http://hdl.handle.net/2152/23777.

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Bie Mannern, welche Liebe fuhlen from Die Zauberflote / W. A. Mozart -- Seven variations on Bei Mannern, welche Liebe fuhlen / L. v. Beethoven -- Sonata for bassoon and piano / A. G. Previn -- Sonata for cello and piano in G minor, op.19 / S. Rachmaninoff.
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Yang, Yuen-Suo. "Master's thesis recital (clarinet)." 2011. http://hdl.handle.net/2152/17140.

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

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Second sonata for clarinet and piano / Francois Devienne -- Sequenza IXa for clarinet solo / Luciano Berio -- Peregi verbunk / Leo Weiner -- Sonata, op. 94 for Bb clarinet and piano / Sergei Prokofiev.
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Councilor, Nicholas. "Doctoral thesis recital (clarinet)." Thesis, 2014. http://hdl.handle.net/2152/24491.

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"A Recording Project Featuring Four Newly Commissioned Duets for Clarinet and Bass Clarinet with Tenor Saxophone and Bassoon." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.27424.

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abstract: Four new duets by different composers were commissioned for this project that utilize the clarinet and bass clarinet with tenor saxophone and bassoon. The pieces are Three Southwest Landscapes by Dan Caputo, Gestures by Michael Lanci, Connotations and Denotations by Jeffery Brooks, and Lyddimy by Thomas Breadon, Jr. The present document includes background information and a performance guide for each of the pieces. The guide gives recommendations to aid musicians wishing to perform these works. Also included are transcripts of interviews conducted with each composer and performer, as well as full scores of each piece. In addition to the document there are recordings of all four pieces.
Dissertation/Thesis
Dan Caputo, Three Southwest Landscapes, I - Marvel of Ages
Dan Caputo, Three Southwest Landscapes, II - Weathered Moon
Dan Caputo, Three Southwest Landscapes, III - Abstrata
Thomas Breadon, Jr., Lyddimy
Michael Lanci, Gestures
Jeffery Brooks, Connotations and Denotations
Doctoral Dissertation Music 2014

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

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

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"The Journey, A suite in five movements for oboe, clarinet, bassoon, and percussion." TopSCHOLAR, 2008. http://digitalcommons.wku.edu/stu_hon_theses/121.

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

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

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Chiu, Ying-Ting. "Repertoire from the Gillet-Fox Competition and its importance to the bassoon literature." 2007. http://hdl.handle.net/1903/9736.

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

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

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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