The purpose of this monograph is to promote Costa Rican academic music by focusing on Costa Rican composer Carlos Escalante Macaya and his Concerto for Clarinet and Strings (2012). I hope to contribute to the international view of Latin American composition and to promote Costa Rican artistic and cultural productions abroad with a study of the Concerto for Clarinet and Strings (Escalante's first venture into the concerto genre), examining in close detail its melodic, rhythmic and harmonic treatment as well as influences from different genres and styles. The monograph will also include a historical context of Costa Rican musical history, a brief discussion of previous important Costa Rican composers for the clarinet, a short analysis of the composer's own previous work for the instrument (Ricercare for Solo Clarinet) and performance notes. Also, in addition to the publication and audio/video recording of the clarinet concerto, this document will serve as a resource for clarinet soloists around the world. Carlos Escalante Macaya (b. 1968) is widely recognized in Costa Rica as a successful composer. His works are currently performed year-round in diverse performance venues in the country. His compositions vary widely, including orchestral, choral, and chamber music works, as well as music for dance, theater, and film. He is associate composer for the national dance and theater companies, and also receives many other commissions. He has received important national and Latin American composition awards, but his music, as that of other Costa Rican composers, is yet to be discovered outside of Latin America. Only one book, Música académica costarricense: Del presente al pasado cercano (2012), includes a commentary on Carlos Escalante Macaya. In it Costa Rican musicologist Ekaterina Chatski briefly analyzes two of his most important compositions: Los huesos tristes, commissioned in 2006 for the Choreographer's Festival, and Sinfonía Centenario (1997), winner of the Latin American Composition Competition of the centenary of the National Theater of Costa Rica. This book also includes a short biography of the composer and a list numbering 81 of his compositions up to the year 2008. The composer provided most materials necessary for my study, including multiple scores, inspirational visual materials, as well as a full interview (completed August 12, 2013) that will be included as an appendix. It is also important to mention that this concerto was written for me. The composer made significant effort to create a piece that would be, in his own words, a "perfectly fitted dress." My feedback ultimately made this piece what it is today, and my premiere of it on September 14, 2012, with the National Symphony Orchestra of Costa Rica, was an absolute success. This piece was so well received by the Costa Rican public that it was included in the National Symphony Orchestra of Costa Rica's latest CD recording of Costa Rican Music Composers. This recording is the first album of the National Symphony Orchestra to include a solo artist, so it is an honor for me to have been part of this wonderful project. Having been involved in all stages that brought this piece to life, I believe I am in the best position to present an analysis of the piece, to provide a historical background, and to offer performance recommendations for the future. / Music Performance

[ES] En la actualidad, los intérpretes de la familia de viento madera, exceptuando a los flautistas, no suelen hacer uso de la técnica del doble y triple picado. Este hecho ha sido tratado en diversas ocasiones justificando su desuso con distintas creencias. En el clarinete se considera que esta técnica no puede ser ejecutada con comodidad por el hecho de tener una parte de la boquilla introducida en la boca (a diferencia de flautistas y trompetistas), lo que entorpece su ejecución. Por otro lado, suele ser considerada innecesaria por la inexistencia de repertorio donde aplicarla. Finalmente, otros músicos coinciden en catalogarla como una técnica demasiado compleja para estar al alcance de cualquier clarinetista, reservándola para instrumentistas con un alto dominio técnico, sobre todo en el registro sobreagudo. Sin embargo, cada vez son más los intérpretes de este instrumento que encuentran dificultades en la articulación de fragmentos picados a gran velocidad y advierten la necesidad de ejecutarla. Por ello, en ocasiones se ven obligados a introducir ligaduras o a realizar cambios de acentuación en dichos pasajes para solventar esta dificultad. De este modo, en este trabajo se han recopilado un total de 111 fragmentos de obras de diferentes agrupaciones en las que el uso de la técnica del doble y triple picado facilitaría al clarinetista la interpretación a las velocidades señaladas. Con el fin de conocer la visión acerca de la técnica desde distintos ámbitos musicales, se han realizado tres encuestas a clarinetistas, directores de grandes agrupaciones y a compositores. Se han obtenido 56 respuestas donde queda reflejada la necesidad de adoptar la técnica en un gran número de los directores encuestados. Además, muchos de los clarinetistas han mostrado su interés por aprender la técnica linguo-gutural. Estos señalaron las dificultades que entrañaba el que no se exigiese su aprendizaje durante los estudios en el conservatorio y la falta de literatura sobre cómo dominarla. Finalmente, se ha realizado una puesta en práctica de la técnica en once participantes de la región de Murcia. A todos ellos se les han proporcionado 94 ejercicios de doble y triple picado durante un periodo de 38 semanas (desde 23 septiembre de 2019 hasta el 6 de julio de 2020). Se ha llevado a cabo un seguimiento transecuencial a los participantes consistente en la grabación de 6 ejercicios comunes con una periodicidad aproximada de entre 2 y 3 meses. Se evalúa primeramente la evolución en la calidad de la técnica y, una vez obtenida, el incremento de la velocidad de la misma. Para ello se utilizaron las Tecnologías de la Información y la Comunicación (TIC), en concreto Sonic Visualiser conjuntamente con ZyMi. Los resultados demuestran que, incluso los clarinetistas con un menor nivel técnico del instrumento, pudieron ejecutar la técnica con un buen estudio de la misma. Además, muchos de ellos consiguieron superar sus velocidades de picado simple gracias a la técnica linguo-gutural y mejoraron aspectos relacionados con la sonoridad, el flujo del aire y la posición interna de la boca. Para obtener estos resultados la implementación de las TIC fue fundamental / [CA] A hores d'ara, els intèrprets de la família de vent fusta, llevat dels flautistes, no solen fer ús de la técnica del doble i triple picat. Aquest fet ha estat tractat diverses vegades amb la justificació del seu desús amb diferents creences. Al clarinet es considera que aquesta técnica no pot ser executada amb comoditat pel fet de tindre una part del filtre introduït a la boca (en contraposició a flautistes i trompetistes), cosa que entorpeix la seua execució. D'altra banda, sol ser considerada innecessària per la inexistència de repertori on aplicar-la. Finalment, altres músics coincideixen a catalogar-la com una tècnica massa complexa per a estar a l'abast de qualsevol clarinetista, reservant-la per a instrumentistes amb un alt domini tècnic, sobretot en el registre sobreagut. No obstant això, cada vegada són més els intèrprets d'aquest instrument que troben dificultats en l'articulació de fragments picats a gran velocitat i adverteixen la necessitat d'executar-la. Per consegüent, a vegades es veuen obligats a introduir lligadures o a fer canvis d'accentuació en aquests passatges per tal de solucionar aquesta dificultat. D'aquesta manera, en aquest treball s'han recopilat un total de 111 fragments d'obres de diferents agrupacions en les quals l'ús de la tècnica del doble i triple picat facilitaria al clarinetista la interpretació a les velocitats assenyalades. Amb la finalitat de conéixer la visió sobre la tècnica des de diferents àmbits musicals, s'han realitzat tres enquestes a clarinetistas, directors de grans agrupacions i a compositors. S'han obtingut 56 respostes on queda reflectida la necessitat d'adoptar la tècnica en un gran nombre dels directors enquestats. A més, molts dels clarinetistas han mostrat el seu interés per aprendre la tècnica linguogutural. Aquests van assenyalar les dificultats que comportava el que no s'exigira el seu aprenentatge durant els estudis en el conservatori i la falta de literatura sobre com dominar-la. Finalment, s'ha posat en pràctica la tècnica en onze participants de la regió de Múrcia. A tots se'ls han proporcionat 94 exercicis de doble i triple picat durant un període de 38 setmanes (des de 23 setembre de 2019 fins al 6 de juliol de 2020). S'ha dut a terme un seguiment seqüencial als participants que va consistir en l'enregistrament de 6 exercicis comuns amb una periodicitat aproximada d'entre 2 i 3 mesos. S'avalua primerament l'evolució en la qualitat de la tècnica i, una vegada obtinguda, l'increment de la velocitat d'aquesta. Per això es van utilitzar les Tecnologies de la Informació i la Comunicació (TIC), concretament Sonic Visualiser conjuntament amb ZyMi. Els resultats demostren que, fins i tot els clarinetistas amb un menor nivell tècnic de l'instrument, van poder executar la tècnica amb un bon estudi d'aquesta. A més a més, molts d'ells van aconseguir superar les seues velocitats de picat simple gràcies a la tècnica linguogutural i van millorar aspectes relacionats amb la sonoritat, el flux de l'aire i la posició interna de la boca. Per a obtindre aquests resultats la implementació de les TIC va ser fonamental. / [EN] At present, players of woodwind family, except flutists, don't usually use the technique of double and triple tonguing. This fact has been treated on several occasions justifying its disuse with different beliefs. On clarinet it is considered that this technique cannot be executed comfortably due to the fact that part of the mouthpiece is inserted in the mouth (unlike flutists and trumpeters), which hinders its execution. On the other hand, it is usually considered unnecessary due to the lack of a repertoire where to apply it. Finally, other musicians agree in classifying it as too complex a technique to be played by any clarinetist, reserving it for instrumentalists with a high technical mastery, especially in the upper register. However, more and more players of this instrument find difficulties in the articulation of tonguing fragments at high speed and warn of the need to execute it. Therefore, sometimes they are forced to introduce slurs or make accentuation changes in these passages to solve this difficulty. In this way, in this work a total of 111 fragments of works from different groups have been compiled in which the use of the double and triple tonguing technique would make it easier for the clarinetist to interpret at the indicated speeds. In order to know the vision about the technique from different musical fields, three surveys have been carried out with clarinettists, directors of large groups and composers. 56 answers have been obtained where the need to adopt the technique is reflected in a large number of the directors surveyed. In addition, many of the clarinettists have shown an interest in learning the linguo-guttural technique. They pointed out the difficulties involved in the fact that its learning wasn't required during studies at the conservatory and the lack of literature on how to master it. Finally, an implementation of the technique has been carried out in eleven participants from Murcia. All of them have been provided with 94 double and triple dive exercises during a period of 38 weeks (from September 23, 2019 to July 6, 2020). A transsequential follow-up has been carried out on the participants, consisting of the recording of 6 common exercises with an approximate periodicity of between 2 and 3 months. The evolution in the quality of the technique is first evaluated and, once obtained, the increase in its speed. For this, it were used the Information and Communication Technologies (ICT), specifically Sonic Visualiser together with ZyMi. The results show that, even the clarinettists with a lower technical level of the instrument, were able to execute the technique with a good study of it. In addition, many of them managed to exceed their simple tonguing speeds thanks to the linguo-guttural technique and improved aspects related to sound, air flow and the internal position of the mouth. To obtain these results, the implementation of ICT was fundamental. / Marín Conesa, I. (2022). Aplicación del doble y triple picado al clarinete. Estudio longitudinal prospectivo sobre los resultados del aprendizaje de la técnica en clarinetistas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/191461

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Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.