This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is scored for solo viola and chamber orchestra. A cassette copy of the recital is available with this book. / Arts, Faculty of / Music, School of / Graduate

Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.

Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.

The present work consists of a research of the process of memorizing a music score and performing it with its main goal being to understand which is the better and the most efficient process of learning and memorizing it. The piece that has been chosen for this project is Sonata n.1 op.120 in F minor for clarinet and piano by Johannes Brahms.The project is based on two methods and some strategies made by psychologists and musicians that suggest to do a theoretical analysis of the piece and afterwards, define some points (cues) that will help the musician to remember. The work consists in to apply these strategies in the practice sessions, in lessons with teachers and in concerts and observe if they have been successful. This paper concludes with the results of the practical part and with a discussion about them and about the experience to play the piece. / <p>Sounding part of the project:</p><p>Johannes Brahms - Sonata n.1 op. 120 in F minor for Clarinet and Piano</p><p></p><p>Clarinet: Clara Vilanova</p><p>Piano: Erik Lanninger</p><p></p><p>The concert took place on May 3rd, 2021 in Nathan Milstein Hall in the Royal College of Music in Stockholm</p>

No description available.

Für die musikalische Analyse ist Klang eine problematische Kategorie, fehlt es doch an genauen begrifflichen Bestimmungen. Diese werden im Rahmen der Sound Studies im Bereich der populären Musik bereitgestellt. Am Beispiel der jeweils ersten Sätze des Klarinettentrios op. 114 und des Klarinettenquintetts op. 115 von Brahms wird versucht, den in Bezug auf populäre Musik etablierten Klang-Begriff auf die Analyse klassischer Musik anzuwenden. Die Analyse soll verdeutlichen, wie die durch die Besetzung bestimmten klanglichen Voraussetzungen eines Werkes dessen musikalischen Charakter wie auch seine formale Anlage prägen. / For the analysis of music sound is a problematic category because of the lack of distinct definitions. Such definitions will be found within the context of Sound Studies of popular music. Using the example of the first movements from the Clarinet Trio op. 114 and the Clarinet Quintet op. 115 of Brahms this article seeks to adapt the concept of sound as established in popular music to the analysis of classical music. The analysis shall explain how sound as determined by instrumentation shapes the musical character and formal structure of both movements.

No description available.

Pierre Boulez (1925-2016) composed Dialogue de l'ombre double for clarinet and live electronics in 1985. This same year, Alain Damiens of Ensemble InterContemporain premiered and recorded the work with the help of Andrew Gerzso of Institut de Recherche et de Coordination Acoustique/Musique (IRCAM). The piece alternates between pre-recorded and live sections that are performed with varied levels of amplification and reverberation creating a dialogue between the parts. Boulez also includes detailed instructions for the spatialization of the pre-recorded tracks that play through six equidistant speakers that surround the audience. Furthering the complexity of this work, it is available in two published versions: version aux chiffres arabes (Arabic numeral version) and version aux chiffres romains (Roman numeral version). Each version includes much of the same musical material, but arranged in a different order. Performance of Dialogue de l'ombre double requires extraordinary technical facility and musical understanding from the clarinetist, the dedicated involvement of a highly qualified sound technician, and the use of a spacious, technologically equipped performance venue. This performance guide aims to facilitate greater accessibility and understanding of this challenging work, in order to encourage widespread performance of this extraordinary piece.

published_or_final_version / abstract / Music / Master / Master of Philosophy

This composition is a work for harpsichord (two players), flute, clarinet, violoncello and tape. In four sections, interspersed by three electronic interludes, the timbral interplay among the four live instruments is exploited, with particular emphasis being given to the sonic effects achieved by the careful manipulation of the interior of the harpsichord. As such, the two harpsichord players have distinctive roles in the ensemble: one of them operates the manuals in a more or less conventional fashion, while the other performs precisely indicated functions inside the instrument.The novelty of the latter activity has necessitated the invention of a few new notational symbols, which are employed throughout the score, Another uncommon notational device is the omission of bar lines, in an attempt to express the independence of contrapuntal lines within the piece.Ball State UniversityMuncie, IN 47306 / School of Music