Rrowzer! is a piece for solo clarinet composed by Eric P. Mandat in 2005. It was premiered at the Oklahoma Clarinet Symposium on June 17, 2005. The composer has stated that he sought in this piece to immediately capture the audience’s attention through intensity and energy. What makes this work distinct is that the composer gives the performer certain freedoms to experiment by means of choosing how many times to repeat various small segments of music. The performance note in the score implores: “Experiment with a wide variety of repetition lengths – it’s your opportunity to build unique structures.” The following thesis consists of three sections. The introduction and Chapter 1 will explore the influences and inspiration behind the piece, as well as consider biographical background information about the composer. Chapter 2 will provide a musical and structural analysis of the piece, focusing on three main compositional aspects: the organic development of the piece through the transformations of a single pitch-class cell with emphasis on the interval content of that sonority; long-range voice leading and linear connections articulated by adjacent quarter tones; and the relationships of the four climactic moments of the piece with one another.

About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition.This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project.The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future. / <p>Inspelningen av konserten startar efter några minuter.</p>

This study assessed the relative efficiency of three teaching procedures used in the development of improving intonation in clarinet performance. The three treatment procedures used included the Beat Method, the C. G. Conn Stroboscope and Johnson Intonation Trainer. During the six weeks study, all ~s participated in two forty-five minute lessons per week. Intonation procedures were studied for fifteen minutes each lesson while other playing problems were discussed for the remaining time. Instruction time totaled nine hours per group. All Ss continued class work with their school music teacher. The experimental design also included a No Contact Control Group which received no special instruction during the six weeks. Standardized tests using specific items and methods needed for this study were not available. This necessitated the construction of tests by the writer (Appendix A, Band C). A Test Reliability GroupE (N = 15), took the test twice with ten days between testing periods. Other schools were randomly assigned to one of the treatment groups, (a) No Cor;tact Control Group A (N = 12), (b) Beat Method Group B (N = 15), (c) C. G. Conn Stroboscope Group C (N = 12 ) , and (d) Johnson Intonation Trainer Group D (N = 15). All groups participated in a pretest and posttest. The Johnson Intonation Trainer was used to produce a constant pitch while the C. G. Conn Stroboscope measured the degree of out-of-tuneness during testing procedures. Instructions for the test were read to minimize variation. The test orientation consisted of three parts (a) Identification of Beats (A p p e n d i X A) ' ( b ) p i t c h Memo r y u~ p p e n d i X B ) ' ( c) Tu n i n g t 0 s e 1 e c t e d Pitches while playing the clarinet (Appendix G). The analysis of variance was used to compute the data. Ss were unable to tune to specified pitches without practicing systematic procedures on how to accomplish this task. Subjects were unable to change pitches more than .05 of a semitone in the pretest. Tuning to Specified Pitches. After treatment, the ability to change pitches up to .25 of a semi tone was accomplished. Clarinet players, considered technically less proficient by their teachers, also accomplished matching pitches on the pretest as accurately as advanced players. This study strongly confirms the thesis that students can learn to play 1n tune through using 11systematic procedures11 with the cooperative. efforts of teachers . It is also concluded that the procedures used in the 11Beat Method11 are significantly better than other procedures tested.

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

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