Benjamin David (Benny) Goodman known for his unique style of jazz clarinet performance and the acclaimed "King of Swing" began studying and performing standard clarinet repertoire after becoming firmly established as a jazz musician. Goodman's thirst for new works and desire to become a recognized concert artist led to a series of commissions from noted composers of the twentieth century. The works created as a result of these commissions have received varied acceptance, yet are important contributions to clarinet repertoire. Some of the works included in this study have been described in other studies, yet no other study exists which summarizes the history, nature and import of non-jazz works commissioned by Goodman. This study is divided into four chapters. Chapter one summarizes Goodman's early musical training and the establishment of his jazz career; chapter two summarizes Goodman's study and performance of standard clarinet repertoire; and chapter three includes a description of each commissioned work in terms of history and musical style. Reviews, especially of premiere performances, are noted and summarized. The concluding chapter includes evaluative comments by recognized clarinetists about these works, documentation of recent rentals of their accompaniments, and a survey of current recordings available for each work. Works included in the study are: Contrasts for Violin, Clarinet, and Piano by Bela Bartok; Concerto for Clarinet and String Orchestra by Aaron Copland; Concerto for Clarinet and Orchestra by Paul Hindemith; Concerto for Clarinet and Orchestra by Darius Milhaud; and Derivations for Clarinet and Band by Morton Gould. An unpremiered Concerto for Clarinet, Cello, and Orchestra by Allen Shawn is described. Letters written by composers Bela Bartok, Paul Hindemith, Morton Gould, Darius Milhaud, and Allen Shawn concerning their commissioned works were collected and are summarized. These letters along with the reviews of premiere performances, statements by noted clarinetists, and data concerning recent performances and recordings of works commissioned by Goodman form a new perspective of their history, nature and significance.

This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.

The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.

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abstract: As clarinet students progress in their studies, there comes a point at which many are assigned to perform contemporary repertoire that is either overplayed due to accessibility and use in pedagogy, or includes difficult extended techniques like microtones, multiphonics, and more. This project identifies a “gap” in unaccompanied clarinet repertoire and seeks to expand this repertoire by outlining a program of study featuring five newly commissioned unaccompanied clarinet solos through which students can learn both traditional and untraditional techniques. Each of the first four works focus on one aspect of clarinet technique—musicality, the altissimo register, microtones, and multiphonics, respectively—and the final work is a culmination of all these techniques. Included in this document is biographical information for each composer, program notes, a brief description, and a performance guide for each piece. Additionally, each work was recorded by the author and included with this document. / Dissertation/Thesis / Performer: Olivia Meadows, Composer: Zachary Bush / Performer: Olivia Meadows, Composer: Josh Gottry / Performer: Olivia Meadows, Composer: Kurt Mehlenbacher / Performer: Olivia Meadows, Composer: Spencer Brand / Performer: Olivia Meadows, Composer: Eric P. Mandat / Doctoral Dissertation Music 2019

This recital features three members of the woodwind family: clarinet, flute, and bassoon. The primary focus of this recital is on the clarinet repertoire. The music ranges across the eras, from Baroque to 20th Century, and is written by composers from North America and Europe. Along with the wide range of compositional styles, the music presents the virtuosity and range of the woodwind family. Brahms��� Sonata for Clarinet and Piano, No. 1 demonstrates a very classical approach to the clarinet after he was inspired by clarinetist Richard M��hlfeld. Harvey���s Three Etudes on Themes of Gershwin focuses more on a jazz and theatrically inspired side of the clarinet. Copland���s Clarinet Concerto, composed for Benny Goodman, incorporates classical, jazz, and North and South American elements. All of these works exemplify the woodwind family and their capabilities. / Mary Pappert School of Music / Music Performance / MM; / Recital;

This creative project is a composition in three movements for woodwind quintet (piccolo replacing flute in the second movement). The work is a serial composition based on the following all-combinatorial row: C, E, E-flat, D-flat, F, D, F-sharp, G, B-flat, A, B, 4-sharp. The first movement is in ternary form, its B section is a palindrome consisting of new versions of the material occurring in the first A section. The second A section is a varied, rather than exact, estatement of the first part. The second movement is a five part canon with each instrument being assigned its own octave. The third movement is a rondeau. The shape and length of its parts was determined by a systematic application of the F1 bonacci series to every formal element. The duration of the Quintet is approximately 20 minutes. / School of Music

Thesis (D.M.A.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 296-306).

Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita.

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded Mar. 23, 1992, Feb. 6, 1995, Apr. 1, 2002, and Sept. 23, 2002. Includes bibliographical references (p. 57-60).