Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 149-152).

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

Thesis (D.M.A)--University of Cincinnati, 2006. / Title from electronic thesis title page (viewed Sept. 15, 2006). Includes abstract. Keywords: Modern clarinet work; Korean music. Includes bibliographical references.

A multi-channel electro-acoustic composition for flute, clarinet, percussion (2 players), and tape. Includes pre-recorded audio and live processing. System requirements: Adobe Acrobat Reader. Includes performance notes. Includes bibliographical references (p. 56-58).

abstract: Examples of new or extended clarinet techniques first appeared early in the twentieth century. By the 1960s, composers and performers began to drastically augment standard clarinet technique, by experimenting with multiphonics and microtones. Subsequently, clarinetists-teachers William O. Smith, Gerard Errante, Ronald Caravan, and others further pushed the limits of sound through their compositions for clarinet. This study explores the important contributions of clarinetist-teacher-composer Eric Mandat to the clarinet repertoire, and presents readers with a detailed biography of Mandat. Additionally, this research paper provides insights into Eric Mandat's instinctive approach to life and considers how this modus operandi translates into success as a composer, as a clarinetist, and as a teacher. Interviews with Eric Mandat comprise the basis for this document; these are supplemented by his writings, articles about Mandat, reviews of his music, and interviews with select colleagues and students. This is the first document to examine Eric Mandat's history and development as a composer, teacher and clarinetist. / Dissertation/Thesis / D.M.A. Music 2012

Eugène Bozza is a three-time winner of the Premier Prix from the Paris Conservatory, in violin, conducting, and composition divisions. He earned his reputation as a master composer of wind music, and contributed a great amount of repertoire to the woodwind family. This document contains a short biography of Eugène Bozza’s life, including his student years and his career as a composer. The purpose of this study is to provide information of how Bozza transferred, adopted and remade his own music among his wind compositions. This document shows that Bozza’s methods of musical adoption warrant a close examination in order to offer greater insight into the mind of a masterful composer. Discussion of Bozza’s compositions includes Aria (1936), Fantasie Italienne (1939), Pulcinella (1944), Concerto (1952), Idylle (1959), Caprice-Improvisation (1963), Épithalame (1971), Suite (1974), Trois Mouvements for Flute and Clarinet (1974), Graphismes for Clarinet Solo (1975), 14 Études de Mécanisme (1948), 12 Études (1953), 11 Études sur des Modes Karnatiques (1972), and Contrastes III for Clarinet and Bassoon (1977).

The thesis investigates how body movements influence a musical performance, with the aim to reach a more expressive performance by an increased awareness of gestures. In the study, three versions of the same clarinet piece were recorded on video; one with me, one with my clarinet teacher and one with a fellow clarinet student. The study addresses the following research questions: - How do body movements correspond to musical intentions? - How are my gestures formed and influenced by my teachers’ gestures? - In what ways can a raised awareness of gestures affect my musical performance? The videos were coded and analysed using open coding. As a reference, each clarinettist notated their intended phrasing in the score. This was marked as phrases (slurs) and Goal Points, and was also annotated in ELAN. With the intention to answer the first research question, the body movements were compared with the performers intended phrasing. In order to answer the second research question, coded sequences from each performance were compared with each other to find similarities and differences, using both quantitative and qualitative methods. Finally, I recorded a second performance of the same piece to investigate whether awareness of gestures affected my performance. Results align with previous research and indicate that body gestures are unique for each performer and connected to musical intentions. Results also indicate a resemblance in movement patterns between my teacher’s performance and my own, suggesting that gestures can be transferred from teacher to student.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, 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, Aaron Copland's Concerto for Clarinet, begins with biographical information, followed by a discussion of various other works of the composer and of important stylistic traits that are contained therein. After thus setting the Concerto in perspective to other major works, an investigation is made into various aspects of form and style which make the Concerto atypical in some respects to the composer t total body of works. Particular emphasis is given to rhythmic and melodic characteristics of the piece which are related to jazz and Latin-American popular music. The formal and stylistic analysis is followed by a discussion of problems involved in performing the Concerto with a piano reduction of the orchestral part, and the lecture concludes with a survey of interpretative problems posed by the work. At the conclusion of the lecture portion of the presentation, the Concerto was performed.

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