In music education today there is a trend toward a greater understanding of the fundamentals of music. Investigations have been undertaken to determine exactly what a musical tone is made of and why individuals respond to it in certain ways. In all fields these endeavors have led to an objective view of what has been primarily a subjective area. A knowledge of why something happens or of a relationship between factors in a situation is always of ultimate value in teaching situations. In this light many studies have been done concerning musical tone analysis, and particularly, clarinet tone analysis. The clarinet has been the center of tone analysis for some thirty-five years, perhaps because it is an acoustical enigma, or perhaps because there are more clarinetists interested in analyzing their instrument. In any case, analyses have been performed dealing with characteristic partial spectrums, design of the bore in relation to the tone, effect of the reed on tone, effect of the player on tone, and comparisons of tones produced by clarinets made of various substances. This paper deals with the latter of these topics: comparisons of tones produced by clarinets made of various substances. The object of this research is not to prove or disprove a similarity or difference in sound but to identify any relative similarities and differences found in the tonal spectrums by the method of testing presented in this study.

This study examines the development and creation of the clarinet in the seventeenth and eighteenth century, and the start of their use as a solo instrument in the eighteenth century. This explores Mozart's utilization and development for the clarinet to other various composers and their contributions.