The popularity of the clarinet in Spain is second only to that of the guitar, and there is a rich tradition of clarinet playing that is accompanied by an equally rich repertoire of music for the clarinet by Spanish composers. The works for clarinet and piano by Miguel Yuste (1870-1947) are among this little known repertoire. In the early twentieth century it was thought that Miguel Yuste wrote over one hundred works for clarinet. However, current research suggests that this is incorrect. What is known is that seven works for clarinet and piano have been published. Miguel Yuste and his music are pivotal in the establishment of the strong clarinet tradition for which Spain is presently known. In his thirty years as the clarinet professor at the Real Conservatorio Superior de Música de Madrid (1910-1940), Miguel Yuste's music and pedagogical ideas became, and continue to be among the foundations of Spanish clarinet playing. This project discusses each published work and presents current research on the works composed for clarinet and piano by Miguel Yuste. After a brief history of Spain's music and social climate in which it developed (Ch. 2), this document discusses the introduction of the clarinet in Spain, clarinet pedagogy at the Madrid Conservatory (Ch. 2), and Miguel Yuste's influence within that pedagogy (Ch. 3). Establishing contact with living clarinetists whose music education was directly influenced by Miguel Yuste and/or his students provides invaluable insight into the traditional performance practice of the works and the extent to which Miguel Yuste influenced Spanish clarinetists in the twentieth century. Chapter four presents an annotated bibliography and brief discussion of the extant works for clarinet by Miguel Yuste. Each annotation includes the title of the work, publisher, date of publication, duration, and any commercially available recordings.

Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston's legacy is often overlooked among clarinetists in the United States. Thurston's playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston's career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston's playing, clarinetists may gain a fuller understanding of Thurston's ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers' inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. Much of this repertoire remains unexplored and unrecorded yet is suitable for intermediate to advanced level clarinet players.

In an appendix section, three notable arias have been transcribed for two clarinets, voice, and piano. A further evaluation of Classical period opera orchestration will aid modern performers and musicologists in their understanding of what clarinets and clarinetists were able and expected to do.

This thesis takes as its broad area of study the solo instrumental music produced since 1960 by the virtuoso performer-composer, and focuses on the works of Australian clarinettist and composer Brigid Burke. The 1960's in music was a decade like no other; the effects of serialism and indeterminacy, the rise of electronic music, and the general climate of experimentation resulted in an explosion of new musical ideas and compositional approaches. One development of this period was the growth of a musician type new to the twentieth century: the virtuoso performer-composer. Brigid Burke (1960- ) is a clarinet soloist, visual artist and a composer of over one hundred works. The majority of Burke's compositional output comprises works for clarinet. In writing almost exclusively for the clarinet, the instrument of which she is a national and international performer, Burke can be viewed as continuing the virtuoso performer-composer trend emanating from the 1960's. The aim of this thesis is to investigate the extent to which Burke's clarinet works represent a unique voice in the international and Australian contemporary clarinet repertoire. Four of Burke's works were chosen for study: Three Sounds on Buildings 2 (2005),

Orientador: Emerson Luiz de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T09:43:22Z (GMT). No. of bitstreams: 1 Sacco_AnaCarolinaRobusti_M.pdf: 15590996 bytes, checksum: ae62d7c571cb9ee599acbdfd96cc3ecb (MD5) Previous issue date: 2015 / Resumo: O objeto de estudo deste trabalho é a peça "Trio das Águas" composta por Ricardo Tacuchian no ano de 2012 e dedicada ao Terra Brasilis Trio, grupo no qual a autora desta dissertação atua como pianista. O primeiro capítulo aborda aspectos do ofício de compositor segundo Tacuchian, seus anseios e motivações para compor, fazendo ainda uma breve explanação a respeito dos fundamentos teóricos do Sistema ¿ T, ferramenta de controle de alturas desenvolvida pelo compositor no início dos anos 80 utilizada para a composição do "Trio das Águas". No segundo capítulo identificamos aspectos relevantes do emprego do Sistema ¿ T e que serviram de base para estruturar esta primeira interpretação. As sugestões interpretativas aqui encontradas baseiam-se no trabalho em conjunto dos primeiros intérpretes da obra com o compositor, buscando melhor compreensão de suas ideias quanto à concepção da obra, sonoridade e articulações desejadas. Os anexos consistem em textos de autoria do compositor sobre a abordagem estética em suas obras e seu Sistema ¿ T, disponibilizados pelo mesmo, e que deram suporte a essa dissertação. Ao levantar essas informações, o presente trabalho tem por objetivo dar subsídios aos futuros intérpretes desta peça no desenvolvimento de uma interpretação coerente com as idéias do compositor / Abstract: The subject of this dissertation is the piece "Trio das Águas" (Water¿s Trio) composed by Ricardo Tacuchian in the year 2012 and dedicated to the Terra Brasilis Trio, ensemble where the author of this dissertation acts as pianist. The first chapter addresses aspects of the composer¿s craft, his wishes and motivations to compose it, and explains the T-System (Sistema ¿T), a pitch control tool developed by the in the 1980¿s used in the composition of the "Trio das Águas". In the second chapter, we identify relevant aspects of the use of this T-System that worked as basis for the first interpretation of the piece. The interpretative suggestions are based in the collaborative work of the first interpreters with the composer, seeking a better comprehension of his ideas about the concept of the work, sonority and desirable articulations. The attachments consist of texts by the composer about the aesthetical approach in his pieces and the "Sistema ¿ T". These texts, made available by the composer himself, served as basis for this dissertation. The present dissertation has as its goal to offer support to future interpreters of this piece, facilitating the development of an interpretation coherent with the composer¿s ideas / Mestrado / Praticas Interpretativas / Mestra em Música

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.

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, Aaron Copland's Concerto for Clarinet, begins with biographical information, followed by a discussion of various other works of the composer and of important stylistic traits that are contained therein. After thus setting the Concerto in perspective to other major works, an investigation is made into various aspects of form and style which make the Concerto atypical in some respects to the composer t total body of works. Particular emphasis is given to rhythmic and melodic characteristics of the piece which are related to jazz and Latin-American popular music. The formal and stylistic analysis is followed by a discussion of problems involved in performing the Concerto with a piano reduction of the orchestral part, and the lecture concludes with a survey of interpretative problems posed by the work. At the conclusion of the lecture portion of the presentation, the Concerto was performed.

This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

While unaccompanied music encompasses an ever increasing portion of clarinet literature, it comprises a comparatively small percentage of music performed. However, study of unaccompanied repertoire provides a valuable pedagogical bridge between etudes and accompanied music that is abundant with opportunity to address larger universal musical concepts, rather than repertoire-specific solutions. This dissertation demonstrates the application of concept-based pedagogy to selected unaccompanied clarinet repertoire of five different ability levels. Using principals of concept-based pedagogy, each work is broken down to its component technical and expressive parts in order to address larger musical concepts. Three to five exercises addressing each work's technical and expressive challenges are provided and explained.

Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.