Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita. Includes transcript of interview, vita and discography of Bill Smith (leaves 257-286). Includes bibliographical references (leaves 240-256).

Thesis (M.Phil.) - University of Queensland, 2006. / Includes bibliography.

Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 149-152).

Harry Sparnaay was a major contributor to the development of unaccompanied works for the bass clarinet and commissioned over 100 pieces for bass clarinet alone. While Sparnaay's book, The Bass Clarinet: A Personal History, includes a list of works written for him, there is minimal information available regarding most of these pieces. This project fills the information gap for this repertoire by providing publication status/score availability, performance challenges, recording history, program notes, and composer information. Each work is classified into three categories based on its publication status and recording history, providing a framework for understanding which works have entered the standard repertoire for the instrument.

The document provides an annotated bibliography of the compositions for clarinet by Dr. Nguyen Phuc Linh, one of Vietnam's foremost contemporary classical musician. Brief biography of Nguyen and his music aesthetic are also included. The dissertation also provides an overview of Vietnamese music and instrumental music.

Graduate

Seven Poems was written for a text in combination with live and recorded sounds. The sound sources used for the recorded portion of the composition came from Bb clarinet and male voice. The taped sound was processed with filters, amplifiers, modulators, reverberators, and various other signal modifiers to expand the timbral possibilities.The text that was used for this piece is a poem by Mark Strand written in 1970. This poem is divided into seven sections. Each of the sections has its own character, although all are related to the same idea - the separation of man from himself. / School of Music

French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet. / School of Music

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xii, 151 p.; also includes graphics. Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center

abstract: Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary clarinet works by six Chinese composers: Qigang Chen's Morning Song, Yan Wang's Mu ma zhi ge (The Song of Grazing Horses), An-lun Huang's Capriccio for Clarinet and Strings Op. 41, Bijing Hu's The Sound of Pamir Clarinet Concerto, Mei-Mi Lan's Concerto for Clarinet and String Orchestra with Harp and Percussion, and Yu-Hui Chang's Three Fantasias for Solo Clarinet in B-flat. They are examined from different perspectives, including general structure, style, and rejuvenated folk music use. The focus of this research paper is to investigate the use of Chinese folk music in several works in collaboration with the composers. The author found that although contemporary composers use Chinese folk music differently in their works (i.e., some use melodies, others use harmony, while others use modes), each work celebrates the music and culture of the folk music on which the pieces are based. It is the author's hope to stimulate people's interest in music using Chinese folk music elements, and bring these lesser known works into the common clarinet repertoire. / Dissertation/Thesis / Morning Song / Mu ma zhi ge (The Song of Grazing Horses) / Capriccio for Clarinet and Strings Op. 41 / The Sound of Pamir Clarinet Concerto movement I / The Sound of Pamir Clarinet Concerto movement II / The Sound of Pamir Clarinet Concerto movement III / Concerto for Clarinet and String Orchestra movement I / Concerto for Clarinet and String Orchestra movement II / Three Fantasias for Solo Clarinet in B-flat movement I / Three Fantasias for Solo Clarinet in B-flat movement II / Three Fantasias for Solo Clarinet in B-flat movement III / D.M.A. Music 2013