Thesis (M. Phil.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

Thesis (M.A.)--University of Wisconsin--Madison, 1947. / Works originally for voices. Ms. (arranger's holograph); prefatory material and bibliography typescript. Includes bibliographical references (leaves 150-156).

Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T04:53:42Z (GMT). No. of bitstreams: 1 Pereira_LucianoSilveira_M.pdf: 11501288 bytes, checksum: 0a477da91c11cc3b36ae405f8265a1c5 (MD5) Previous issue date: 2010 / Resumo: Este trabalho tem por objetivo oferecer, em uma visão contextual, subsídios para a interpretação da música clássica para clarinetistas modernos. O trabalho apresenta, inicialmente, as transformações organológicas pelas quais o clarinete passou, desde sua criação, no final do século XVII, até o final do século XVIII, quando o instrumento atinge sua tessitura completa. A seguir, concentra-se em aspectos interpretativos do repertório escrito para o clarinete de 5 chaves, o primeiro a agregar o registro grave, até então explorado apenas pelo chalumeau, e o registro agudo, próprio do clarinete barroco. Este clarinete - standart do período clássico - possui características sonoras semelhantes às do clarinete moderno. O repertório setecentista dedicado a este instrumento é um dos mais vastos da literatura clarinetística. Paradoxalmente, a maior parte deste repertório é praticamente desconhecida por clarinetistas modernos. As diretrizes interpretativas propostas por este trabalho enfocam dois aspectos principais: articulação e acentuação, fundamentando-se em tratados e métodos antigos para clarinete. Dentre estas publicações, foram selecionados seis métodos, com maior destaque para o Méthode de clarinette (1802) de Jean Xavier Lefèvre (1763-1820). Deste modo, é proporcionado ao intérprete moderno um contato direto com a literatura didática setecentista para clarinete. As informações contidas nestes métodos são comparadas com regras propostas por autores como: Leopold Mozart (1719-1787), Johann Joachim Quantz (1697-1773), Carl Philipp Emanuel Bach (1714-1788) e Daniel Gottlob Türk (1750-1813). Com isto, esta pesquisa oferece a clarinetistas suporte para a execução e para uma compreensão mais profunda da música clássica, levando em conta uma abordagem histórica para este repertório / Abstract: This paper aims to provide support for the interpretation of classical music to modern clarinetists in a contextual way. The paper initially presents the transitions which the clarinet experienced since its creation in the late seventeenth century until the mid eighteenth century, when the instrument reached its full range. Next, the paper focuses on the interpretative aspects of the repertoire written for the five-key clarinet, the first one to have both the low register added to it, which had until then had been only explored by the chalumeau and the upper register which was typical of the baroque clarinet. The standart clarinet of the classical period has sound characteristics similar to the modern clarinet. The eighteenth-century repertoire dedicated to this clarinet is one of the most extensive ones. Paradoxically, most of this repertoire is almost unknown to modern clarinetists. The interpretive guidelines proposed by this work focus on two main aspects: the articulation and metrical stress, based on historical treatises and methods for the clarinet of that period. Among these publications, six methods were selected, with greater emphasis being given to the Méthode de clarinette (1802) by Jean Xavier Lefèvre (1763-1820). Thus, the modern interpreter is provided with a direct contact with the eighteenth-century didactic literature for the clarinet. The information contained in these methods are compared to the rules proposed by authors such as Leopold Mozart (1719-1787), Johann Joachim Quantz (1697-1773), Carl Philipp Emanuel Bach (1714-1788) and Daniel Gottlob Türk (1750-1813). With that, this research provides support for the presentation and a deeper understanding of classical interpretation, taking into account a historical approach to this repertoire / Mestrado / Praticas Interpretativas / Mestre em Música

Orientadores: Fernando Augusto de Almeida Hashimoto, Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T22:57:50Z (GMT). No. of bitstreams: 1 Bastos_MariaBeraldo_M.pdf: 3516018 bytes, checksum: 094364099b654517026ea87c54ca2940 (MD5) Previous issue date: 2013 / Resumo: Este trabalho busca identificar traços do estilo musical do saxofonista e clarinetista José Ferreira Godinho Filho, conhecido como Casé (1932 a 1978), através da transcrição e análise de alguns de seus improvisos gravados nos LPs Samba Irresistível (1961) e História do Jazz em São Paulo(1956). Juntamente com um levantamento de dados biográficos e a realização de entrevistas, usou-se como suporte para esta investigação os trabalhos de Kernfeld, Lawn e Helmer, Almada, Russel, Fabris e Borém e Piedade para abordar aspectos formais, procedimentais, melódicos, harmônicos, timbrísticos e semióticos. Os resultados apontam para uma alta proficiência técnica e um estilo original e inovador, perceptíveis na emissão e timbre sonoros, nas inflexões de expressão e na articulação / Abstract: This dissertation has as the main goal to identify elements of the musical style of the saxophonist and clarinetist José Ferreira Godinho Filho, known as Casé (1932 -1978), by transcribing and analyzing his solos recorded in the LPs Samba Irresistível (1961)and História do Jazz em São Paulo (1956). Along with a biographical survey and interviews, we found support in works by Kernfeld, Lawn and Helmer, Almada, Russel, Fabris and Borém and Piedade to approach the musical phenomenon. The outputs point out that Casé was a virtuoso musician and detainer of an original and innovator style, noticeable in his peculiar sonority, inflections and articulation / Mestrado / Praticas Interpretativas / Mestra em Música

Orientador: Emerson Luiz de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T09:43:22Z (GMT). No. of bitstreams: 1 Sacco_AnaCarolinaRobusti_M.pdf: 15590996 bytes, checksum: ae62d7c571cb9ee599acbdfd96cc3ecb (MD5) Previous issue date: 2015 / Resumo: O objeto de estudo deste trabalho é a peça "Trio das Águas" composta por Ricardo Tacuchian no ano de 2012 e dedicada ao Terra Brasilis Trio, grupo no qual a autora desta dissertação atua como pianista. O primeiro capítulo aborda aspectos do ofício de compositor segundo Tacuchian, seus anseios e motivações para compor, fazendo ainda uma breve explanação a respeito dos fundamentos teóricos do Sistema ¿ T, ferramenta de controle de alturas desenvolvida pelo compositor no início dos anos 80 utilizada para a composição do "Trio das Águas". No segundo capítulo identificamos aspectos relevantes do emprego do Sistema ¿ T e que serviram de base para estruturar esta primeira interpretação. As sugestões interpretativas aqui encontradas baseiam-se no trabalho em conjunto dos primeiros intérpretes da obra com o compositor, buscando melhor compreensão de suas ideias quanto à concepção da obra, sonoridade e articulações desejadas. Os anexos consistem em textos de autoria do compositor sobre a abordagem estética em suas obras e seu Sistema ¿ T, disponibilizados pelo mesmo, e que deram suporte a essa dissertação. Ao levantar essas informações, o presente trabalho tem por objetivo dar subsídios aos futuros intérpretes desta peça no desenvolvimento de uma interpretação coerente com as idéias do compositor / Abstract: The subject of this dissertation is the piece "Trio das Águas" (Water¿s Trio) composed by Ricardo Tacuchian in the year 2012 and dedicated to the Terra Brasilis Trio, ensemble where the author of this dissertation acts as pianist. The first chapter addresses aspects of the composer¿s craft, his wishes and motivations to compose it, and explains the T-System (Sistema ¿T), a pitch control tool developed by the in the 1980¿s used in the composition of the "Trio das Águas". In the second chapter, we identify relevant aspects of the use of this T-System that worked as basis for the first interpretation of the piece. The interpretative suggestions are based in the collaborative work of the first interpreters with the composer, seeking a better comprehension of his ideas about the concept of the work, sonority and desirable articulations. The attachments consist of texts by the composer about the aesthetical approach in his pieces and the "Sistema ¿ T". These texts, made available by the composer himself, served as basis for this dissertation. The present dissertation has as its goal to offer support to future interpreters of this piece, facilitating the development of an interpretation coherent with the composer¿s ideas / Mestrado / Praticas Interpretativas / Mestra em Música

Richard Strauss's Duett-Concertino for Clarinet and Bassoon with Strings and Harp, AV 147 was one of the last works written by this celebrated composer. This double concerto has been largely unrecognized by performers and scholars until a recent surge in recorded performances. Some factors that hinder performances of the Duett-Concertino include unusual scoring and difficult rhythmic passages, as well as a lack of acknowledgement or understanding of the programmatic elements represented in the music. Sketches and letters show that the Duett-Concertino was inspired by a fairytale, which may have been the popular Beauty and the Beast. The programmatic analysis in this study examines the musical gestures of the piece, which, when combined with the cues provided in the sketches and letters, construct a musical interpretation of the fairytale. Recognition of the extra-musical features of the Duett-Concertino is essential for an effective performance and, in turn, creates additional performance possibilities such as narration and choreography.

With the exception of the music of Aram Khachaturian, the output of Armenian composers has been largely overlooked. This small Middle-Eastern country with a population of almost four million and an intriguing history indeed has a rich musical heritage. From its roots in sacred music and folksong, Armenian music has evolved into a unique blend of national elements and Western art music. Although it remains largely undiscovered, there is an entire repertoire of works in this aesthetic. The Trio for clarinet, violin, and piano by Khachaturian has long been a standard in the clarinetist's repertoire. This project brings to light lesser-known works of other Armenian composers. After providing a brief history of Armenia and her music (Chapter 2), this document presents an annotated bibliography of works using the clarinet (Chapter 3). Because there are a significant number of Armenians living outside their homeland, composers considered for this bibliography include all those of Armenian descent: those born,schooled, and presently living in Armenia, as well as those born to one or both Armenian parents residing in other countries. The bibliography includes works for unaccompanied clarinet, clarinet and piano, clarinet and orchestra, and chamber music for up to seven players. Each annotation includes the composer's name, dates, title of the work and its movements, date of composition, instrumentation, publisher and date of publication (in the case of published works), source from which the score can be obtained (in the case of unpublished works and works that are no longer published), duration of the work, and any recordings that are commercially available. Specific information about each piece, such as its dedication, first performance, historical background, musical characteristics, and performance practice issues is provided when available.

The name Joseph Holbrooke is, for the most part, unknown today, but that was not the case in the early years of the 20th century. Conductors such as Sir Thomas Beecham and Henry Wood performed his works throughout England, and his opera, The Children of Don, was performed in Vienna and Salzburg. However, his popularity did not last, and the performances of his works began to decline sharply after 1925. By the last quarter of the 20th century, performances of his works were very rare, even in England, and most, if not all, were out of print. As reason for this decline, some have cited the long duration and large instrumentation required by some his works, while others have said the neglect is well deserved, but the critical pendulum now seems to be swinging in the other direction. Many of his pieces have come back into print and new recordings are being released. This is especially good news for clarinetists because of the quality and number of his works for that instrument. His compositions for clarinet include chamber and solo works, and a double concerto for clarinet and bassoon. These melodic and intriguing works for the clarinet deserve more investigation and exposure. This document provides an annotated bibliography of all of Holbrooke's solo and chamber works involving the clarinet. Each entry lists title, publisher, date of composition/publication, duration, commercially available recordings, and provides a brief description. In addition, a biographical sketch is provided along with an overview of his compositional style.

Although many volumes concerning the life and works of Johannes Brahms have been written, it has been found that the majority of these writings treat the material of the subject in a rather poetic and romanticized fashion. This is especially unfortunate in those volumes where the works of Brahms are analyzed with pragmatic implications, since Brahms himself eschewed the use of extramusical elements in his composition. This investigation, therefore, is an attempt to present a careful analysis of one of these compositions, the Quintet in B Minor, Op. 115, for clarinet and string quartet.

No description available.