The purpose of this study was to focus on the efficacy of a dynamic breath exerciser called the Breath Builder™ and its effects on clarinet players’ performance abilities and/or lung functions. The study sample consisted of 15 clarinetists, a combination of undergraduate and graduates from the clarinet studio at the University of Arizona, ages 18 - 27. The eight-week study consisted of two phases. During Phase 1, subjects in experimental group 1 used the Breath Builder™ three times a day, five times a week. The control group was not given Breath Builders™ and continued with their normal practice routine. In Phase 2, the control group was given Breath Builders™ and relabeled as experimental group 2. Experimental group 1 stopped using the Breath Builder™ and was relabeled as experimental group 3. Following this cessation, the subjects in experimental group 3 were measured to note any change in lung function or performance. Some of the pulmonary lung function measurements used for this study were, Forced Vital Capacity (FVC), Maximal Inspiratory Pressure (MIP), Maximal Inspiratory Pressure in 1 second (MIP1), and Maximal Expiratory Pressure (MEP). Musical abilities measured were tone, note duration and phrase duration. A significant interaction effect was found regarding MIP and MIP₁.

This document provides a short history and analysis of Gerard Grisey's Anubis et Nout, written for Harry Sparnaay in 1983 and dedicated to Claude Vivier, a friend and colleague of Grisey's who was murdered that year. Although Anubis et Nout is originally for solo contrabass clarinet, Grisey also created a version in 1990 for Claude Delangle, to be played on either baritone or bass saxophone. Both versions are published by Ricordi.In the first two chapters, I present a brief introduction to the life and music of Gerard Grisey, as well as an introduction to Claude Vivier. In chapter three, I give a chronology of Anubis et Nout; the history presented here is largely informed by interviews conducted by the author with instrumentalists Jean-Noel Crocq, Claude Delangle, Harry Sparnaay, and Taimur Sullivan. The remainder of the document is an original analysis of each movement of Anubis et Nout. The analysis includes discussion and examples of subharmonicity, harmonicity, time concepts presented in Grisey's essay "Tempus ex Machina" , and Grisey's attention to timbre through diacriticals as they pertain to the work.

Until such players as Lionel Tertis improved the status of their instrument in the twentieth century, violists have had to rely to a considerable extent on arrangements to help redress the void which exists in viola literature (when compared with the extensive repertory of many other instruments), a gap that is particularly apparent in the eighteenth century. One such example is the arrangement of Mozart’s Clarinet Concerto, K. 622 for solo viola. During the twentieth century, a small number of arrangements were made of this composition for viola; however, among the most interesting is an anonymous arrangement made only eleven years after the composer’s death, in 1802, by the German publishing firm Johann Anton André. This paper identifies the extant sources for the original clarinet version of the work, followed by an examination of the 1802 André arrangement. A comparison of the latter with an arrangement for viola by Lionel Tertis dating from the 1940s will also be made, with each version discussed in light of the culture, techniques and performance practices of its period, alongside a consideration of the overall feasibility of this work for the viola.

Until such players as Lionel Tertis improved the status of their instrument in the twentieth century, violists have had to rely to a considerable extent on arrangements to help redress the void which exists in viola literature (when compared with the extensive repertory of many other instruments), a gap that is particularly apparent in the eighteenth century. One such example is the arrangement of Mozart’s Clarinet Concerto, K. 622 for solo viola. During the twentieth century, a small number of arrangements were made of this composition for viola; however, among the most interesting is an anonymous arrangement made only eleven years after the composer’s death, in 1802, by the German publishing firm Johann Anton André. This paper identifies the extant sources for the original clarinet version of the work, followed by an examination of the 1802 André arrangement. A comparison of the latter with an arrangement for viola by Lionel Tertis dating from the 1940s will also be made, with each version discussed in light of the culture, techniques and performance practices of its period, alongside a consideration of the overall feasibility of this work for the viola.

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains 1 score (50 p.). For flute, B♭ clarinet, violin, violoncello, percussion and piano. Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2005. / Includes 2 compositions: Puer natus est nobis (zu irgendeiner Zeit) for full orchestra, and Annicha, for flute, clarinet, and piano. Vita. Includes audio reel tape of compositions (analog, stereo., 7 1/2 ips : 7 in.).

Thesis (Ph. D.)--Princeton University, 1969. / Holograph. "This composition and the essay, The delayed structural downbeat and its effect on the tonal and rhythmic structure of sonata form recapitulation, together constitute the dissertation but are otherwise unrelated." Printed on double leaves.

Thesis (M.A.)--University of California, Santa Cruz, 1995. / Typescript.

Thesis (M.A.)--University of California, Santa Cruz, 1998. / Typescript. For piano, clarinet, flute, violin and violoncello.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1998. / For flute (piccolo), B♭ clarinet (E♭ clarinet), violin, violoncello, and percussion (1 player), and piano. Typescript. Duration: 15:00. Includes performance instructions. eContent provider-neutral record in process. Description based on print version record.