Quartet for clarinet and string trio / Krzysztof Penderecki -- Esprit rude; esprit doux / Elliot Carter -- Corker / Libby Larsen -- Clarinet trio, op. 114 / Johannes Brahms. / text

Suite from The soldier's tale / Igor Stravinsky -- Concertpiece no. 1 in F minor, opus 113 / Felix Mendelssohn -- Trio in B flat major, op. 274 / Carl Reinecke. / text

Second sonata for clarinet and piano / Francois Devienne -- Sequenza IXa for clarinet solo / Luciano Berio -- Peregi verbunk / Leo Weiner -- Sonata, op. 94 for Bb clarinet and piano / Sergei Prokofiev. / text

Chromatic fantasy / J. S. Bach -- Sonata, op. 167bis, "Undine" / Carl Reinecke -- Sonatina / Joseph Horovitz -- Fantaisie brillante on Verdi's Rigoletto / Luigi Bassi. / text

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 353).

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods.

The lecture recital was given on July 25, 1977. Transcriptions and arrangements for clarinet and piano of nineteenth-century Italian opera were popular during the virtuoso wind era and are representative of an important phase in the history of clarinet playing. Arias of Rossini and Verdi and a fantasia based on Rigoletto were performed during the lecture recital. In addition to the lecture recital, three other public recitals were performed, including solo compositions for clarinet and chamber works including clarinet.

The problem with which this investigation is concerned is that of facial muscle activity in forming and maintaining the soprano clarinet embouchure. The purposes of the study are to collect and analyze data in the following areas: 1. Activity of the following muscles during performance on the clarinet: (1) upper orbicularis oris, (2) lower orbicularis oris, (3) upper half of the buccinator, and (4) lower half of the buccinator. Muscular activity is read as electronic potential and is presented on recordings through the use of electromyography. 2. Possible effects which the electromyographic apparatus might impose upon performance. Tape recordings weremade of the subjects' performing prescribed tasks both before and during electromyographic analysis. The possible effects of the electromyographic analysis upon performance were then tested by comparing these two recordings.

It is the purpose of this thesis to present a study of the development of writing for the clarinet in chamber music during the period from Mozart (1756-1791) through Brahms (1833-1897). The first part is a brief history of the clarinet showing the stages of development of the instrument from its beginning to its present form and also surveys the field of chamber music in general, with special attention to the chamber music for the clarinet, and to the performers for whom many of these works were written.