In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order. The eventual confluence of its distinct cultural elements (i.e. the European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical tradition. The wars for independence that began in the United States and Europe in the eighteenth century created a surge towards political and cultural autonomy that swept across the Latin American colonies, generating a wave of nationalism during the nineteenth century. After finally gaining its independence in 1902, Cuba sought to define itself as a nation. Cubans looked inward to their regional folklore—their indigenous and popular traditions—for the source of their national identity, a trend that became of primary interest to Cuban artists. The nationalist trend found full musical expression during the twentieth century, when composers turned to folklore for their inspiration in creating new art music (works for the concert hall) with a unique sound and vitality. This study concerns itself with the Cuban nationalist movement and its role in the creation of art music by twentieth-century Cuban composers, most specifically that of Mario Abril. The monograph is organized into three general sections: the first section (Chapters 2 and 3) identifies the significant characteristics of nationalism, describes the manifestation of some relevant nationalist movements (e.g., in Europe and Latin America), and explores the manifestation of the nationalist movement in Cuba. The second section (Chapters 4 and 5) provides a history of Cuban art music, concluding with a biographical sketch of composer Mario Abril. The third part (Chapters 6 and 7)consists of a study of the music, beginning with a description of the pertinent characteristics of Cuban popular music, followed by an examination Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano. The document concludes with remarks about the characteristics that qualify the work as an example of Cuban nationalist art music with suggestions for the study and interpretation of the work.

Thesis (M. Mus)--University of Adelaide, Dept. of Music Studies, 1993?

Cette recherche vise la compréhension des processus d’enseignement-apprentissage de la clarinette en groupe restreint, dans une perspective évolutive des situations individuelles légitimées à travers l’histoire de la pédagogie instrumentale en France. Le travail en groupe viendrait enrichir les modalités d’apprentissage développées dans les situations individuelles et changerait la place de l’élève dans la construction des différents savoirs (techniques, cognitifs, esthétiques, expressifs, déclaratifs, etc.) imbriqués dans le savoir instrumental. Dans un cadre où la relation asymétrique enseignant-élève place souvent l’enseignant en seul détenteur du savoir, le groupe apparait comme une possibilité méthodologique d’équilibration des contrats didactiques. C’est à travers le développement d’activités de collaboration et la résolution des conflits sociocognitifs, créés dans une grande variété d’interactions, que le groupe permet une co-construction des savoirs musicaux. Les analyses des situations d’enseignement-apprentissage individuelles et en groupe, sont fondées sur des pratiques enseignantes instrumentales réelles et étayées d’une théorisation des travaux socioconstructivistes dans le cadre scolaire. Cette démarche s’inscrit dans un lien étroit entre la pratique et la recherche, qui semble fondamental dans l’évolution de la pédagogie et de la didactique instrumentale. / The purpose of this research is to better understand the impact of teaching/learning clarinet-playing in small groups in the perspective of individual progress situations validated by the history of instrument pedagogy in French “conservatoires”. It would seem however that group work would better serve the development of learning modes as it expands the learning processes involved in the traditional one-to-one approach. Group work would change the learner’s position as he/she acquires the various (technical, cognitive, esthetic, expressive, declarative, etc.), skills involved in playing a musical instrument. In a context in which the asymmetrical teacher/student relationship often sets the teacher as the sole expert, the group appears as a pedagogical means to establish some balance and better define each person’s role. An array of activities requiring all forms of interaction will encourage collaboration and develop an aptitude to resolve socio-cognitive conflicts, the group thus becomes the place where musical skills are mutually acquired and structured. This analysis is based on authentic teaching of musical instruments and is supported by the analysis of socio-constructivist work carried out in schools. This study therefore combines both the theoretical field of research and the practical experience of teaching, which is fundamental when dealing with the evolution of both pedagogy and the teaching of musical instruments.

"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.

Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.

For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.

Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

This study investigates whether different stereo techniques used as a main array influences the preferred level from spot microphones when combined in a mix. Time delay compensation and its influence on spot microphone level was also examined. A clarinet soloist and a violin & piano duo were recorded as stimuli. A listening test was conducted where subjects were asked to set the level on spot microphone channels of a clarinet, and violin in combination with several stereo techniques. A/B, X/Y, ORTF, and Blumlein were examined. In general, results suggested that there wasn’t a significant difference in preferred spot microphone level between stereo techniques. Time delay compensation could not be proven to significantly influence the preferred spot microphone level.

No description available.