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The Structure and Movement of Clarinet PlayingRolf, Sheri Lynn, M.D. 10 August 2018 (has links)
No description available.
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Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo ClarinetDanard, Rebecca J. January 2011 (has links)
No description available.
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The Activity of Certain Facial Muscles in the B-Flat Soprano Clarinet Embouchure: An Exploratory Study Utilizing ElectromyographyNewton, William Jackson, 1932- 08 1900 (has links)
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.
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A systematic approach to five clarinet fundamentals as utilized in Rose's Forty etudesBritz, Joanne Marie 28 August 2008 (has links)
Not available / text
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A systematic approach to five clarinet fundamentals as utilized in Rose's Forty etudesBritz, Joanne Marie, 1969- 08 August 2011 (has links)
Not available / text
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The clarinet contest solos of the Paris Conservatory, with a performance analysis of selected compositions; a report of a Type C project.Caringi, Joseph John, January 1963 (has links)
Thesis--Columbia University. / Includes bibliographical references.
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Mannheim and the clarinet : the Palatine Court's contribution to the development of the clarinet as an orchestral instrument /Hadfield, Karen. January 2005 (has links) (PDF)
Thesis (M.Phil.) - University of Queensland, 2006. / Includes bibliography.
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Historical and performance perspectives of clarinet material performed in a thesis recitalSimon, Karem Joseph January 1985 (has links)
This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture
in a more detailed and extensive account.
A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2.
Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works.
Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A.
Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice.
Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist
of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression. / Arts, Faculty of / Music, School of / Graduate
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The Bass Clarinetist’s Pedagogical Guide to Excerpts From the Wind Band LiteratureBland, Britni Cheyenne 08 1900 (has links)
Student clarinet performers often encounter bass clarinet for the first time in a high school or university wind ensemble, so it is logical for clarinet pedagogues to encourage and assist their students in learning this wind band literature. In addition to becoming familiar with this oft performed repertoire, students will develop a set of specialized bass clarinet skills that one cannot learn on soprano clarinet. These skills include increased air capacity and support, timbre consistency in differing registers, intonation tendencies of the lower instrument, voicing flexibility, right hand thumb dexterity for keys that do not exist on soprano clarinet, technical facility for eleven pinky keys (as opposed to the seven pinky keys on a typical soprano clarinet, and effective altissimo fingerings. The purpose, then, of this document is to provide a performance guide for select bass clarinet solo excerpts from the wind band literature and to provide supplemental exercises intended to help students acquire the specialized bass clarinet skill set they will need in order to perform the selected excerpts successfully. The solos discussed in this document are excerpted from H. Owen Reed’s La Fiesta Mexicana, Florent Schmitt’s Dionysiaques, Percy Grainger’s Lincolnshire Posy, Frank Ticheli’s Blue Shades, William Bolcom’s First Symphony for Band, and Andrew Rindfleisch’s The Light Fantastic.
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An Examination of the Clarinet Music of Luigi BassiJohnson, Madeline LeBaron 08 1900 (has links)
This dissertation focuses on the clarinet music of Luigi Bassi (1833-1871), an Italian clarinetist and composer. Biographical information and performance history for Luigi Bassi are included. Bassi wrote 27 works for clarinet, including 15 opera fantasies or transcriptions. Most of his works are housed in the Milan Conservatory library. This document provides analysis of all but two of Bassi's 27 works. For Bassi's pieces with ties to opera, I identified his source material and discussed the ways in which he manipulated the material. A brief synopsis of each opera is included. This study serves as a performance guide for those seeking to perform Bassi's clarinet works.
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