Academic literature on the topic 'Woodwind chamber ensemble'

The phenomenon of the formation of the woodwind instrument art in China of the 20th century is due to the unique synthesis of Western European traditions and the experience of playing traditional national wind instruments. The relevance of the study is due to the fact that the growth of professionalism among musicians-performers stimulates composer creativity, producing the development by Chinese composers of the styles and genres of Western European music. In turn, the combination of styles and genres of academic art with intonation and expressive means of national Chinese music creates new, interesting examples of musical compositions by contemporary Chinese composers, worthy of a separate in-depth study. The purpose of the article is to consider the prerequisites, features of the formation of the performing art of woodwind instruments in China, as well as identifying possible prospects for its development. The leading approach to the study of the problem is a comparative approach in assessing the development of the art of playing woodwind instruments in China and in Western Europe and America. A close relationship between performing, composing and musical education is revealed. It is proved that the development of performing arts should be aimed at enhancing the ensemble qualities of musicians, which is due to the priority of the chamber-instrumental genres in modern concert practice. The significance of the article, both in theoretical and practical terms, is due to the fact that its results can be used as elements of a methodological base for further research on the issues identified.

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

This chapter examines Beyer's instrumental chamber works and pieces for symphony orchestra or large ensemble. Beyer's two suites for solo clarinet, composed in 1932, are landmark works of dissonant counterpoint and modernist formalism. These clarinet suites are compositionally intricate and virtuosic in their demands. These are important in their theoretical implications, and they started Beyer down a path of writing a number of pieces for woodwinds. Meanwhile, Beyer composed only two duos for strings and piano: Movement for Double Bass and Piano (1936) and Suite for Violin and Piano (January 1937). She also composed four works for string quartet: String Quartet (1933–34), String Quartet No. 2 (July 1936), Movement for String Quartet (also called Dance for Strings, 1938), and String Quartet IV (undated).