In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet's upper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions. The four works surveyed are: Heinrich Neumann's Serenata Svizzera Op.29, Ferdinand Rebay's Sonata for Clarinet and Guitar No.2 in A minor, Libby Larsen's Blue Third Piece, and Gernot Wolfgang's Four Miniatures. An extensive compilation of over 300 original published and unpublished works for clarinet and guitar, bass clarinet and guitar, and more than one clarinet and/or guitar is included.

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The problem with which this investigation is concerned is that of facial muscle activity in forming and maintaining the soprano clarinet embouchure. The purposes of the study are to collect and analyze data in the following areas: 1. Activity of the following muscles during performance on the clarinet: (1) upper orbicularis oris, (2) lower orbicularis oris, (3) upper half of the buccinator, and (4) lower half of the buccinator. Muscular activity is read as electronic potential and is presented on recordings through the use of electromyography. 2. Possible effects which the electromyographic apparatus might impose upon performance. Tape recordings weremade of the subjects' performing prescribed tasks both before and during electromyographic analysis. The possible effects of the electromyographic analysis upon performance were then tested by comparing these two recordings.

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Thesis--Columbia University. / Includes bibliographical references.

Thesis (M.Phil.) - University of Queensland, 2006. / Includes bibliography.

This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture in a more detailed and extensive account. A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2. Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works. Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A. Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice. Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression. / Arts, Faculty of / Music, School of / Graduate

Student clarinet performers often encounter bass clarinet for the first time in a high school or university wind ensemble, so it is logical for clarinet pedagogues to encourage and assist their students in learning this wind band literature. In addition to becoming familiar with this oft performed repertoire, students will develop a set of specialized bass clarinet skills that one cannot learn on soprano clarinet. These skills include increased air capacity and support, timbre consistency in differing registers, intonation tendencies of the lower instrument, voicing flexibility, right hand thumb dexterity for keys that do not exist on soprano clarinet, technical facility for eleven pinky keys (as opposed to the seven pinky keys on a typical soprano clarinet, and effective altissimo fingerings. The purpose, then, of this document is to provide a performance guide for select bass clarinet solo excerpts from the wind band literature and to provide supplemental exercises intended to help students acquire the specialized bass clarinet skill set they will need in order to perform the selected excerpts successfully. The solos discussed in this document are excerpted from H. Owen Reed’s La Fiesta Mexicana, Florent Schmitt’s Dionysiaques, Percy Grainger’s Lincolnshire Posy, Frank Ticheli’s Blue Shades, William Bolcom’s First Symphony for Band, and Andrew Rindfleisch’s The Light Fantastic.