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.

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.

Thesis (M.S.)--Florida State University, 2004. / Advisor: Dr. Alejandro Gallard, Florida State University, College of Education, Dept. of Middle and Secondary Education. Title and description from dissertation home page (viewed Jan. 13, 2005). Includes bibliographical references.

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by recitals, recorded Nov. 2001, Apr. 2002, Sept.-Nov. 2002, and Mar. 2004. Includes bibliographical references (p. 167-171).

Diss. med. Bern, 1998.

System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 57-59).

M.A. / Please refer to full text to view abstract

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. / Arts, Faculty of / Music, School of / Graduate

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. / Arts, Faculty of / Music, School of / Graduate

Aaron Copland has been in the forefront of the American musical scene since the 1920s. He has been called an "American composer" for his ability to formulate the essence of American folk music into a wide variety of mediums. The variety and scope of his compositions encompass a diverse array of styles and techniques. From the jazz influenced works that dominated his early period to the works for Hollywood films, from the chamber music that was directly influenced by his Jewish background to the partial acceptance of serial technique, Copland has managed to delve equally into all these styles. Yet, one could arguably rank his works for the stage as his most popular and generally most successful compositions of his career. The extent to which the American public has accepted these works as being "folk" is a case for the genius and adaptability of Copland's talent. Although works like Appalachian Spring, Rodeo, and Lincoln Portrait command the attention of the general public, of whom Aaron Copland was constantly aware, there are works for the piano that deserve and demand close study by pianists. One such work is the Piano Variations. Written in 1930, it has been acknowledged as a twentieth century masterpiece in publications for piano and piano literature as well as by pianists since its premiere in 1931. It is a brutal and sparse work that encompasses a quasi-serial technique in which the motto of four notes transforms itself through the course of twenty variations and a coda. The demands of learning a work such as this can be overwhelming for the pianist not accustomed to the rigors of a non-diatonic piece. However, a careful analysis precipitated by specific questions directed not only at learning the piece but also with the goal of performance in mind, can shape the interpretational issues that will eventually face the pianist. The questions that I pose are directly pulled from Michael Remson's article, "Copland's Piano Variations: A Forgotten Masterpiece." Although it is considered by this writer as an introduction to the technique of serialism, largely because of the classical practices among which are tonal center, period structure and interruptions of the motto, Copland's Piano Variations is a classic example of a twentieth century work that will be heard as avant-garde and studied in the style of late Romanticism.