In the collaborative integration of the components in Brazilian folk music language and of western art music style, Villa-Lobos' compositional style is unique in reflecting a self-defined method apart from the development of nineteenth century Nationalism. The purpose of this study is to identify the use of the Brazilian nationalistic elements in the music of the Brazilian art music composer Heitor Villa-Lobos as well as to examine his approach of the use of the representative components in his writing for clarinet. The choice of compositions included in this document focuses on the three chamber music works with clarinet in the set of the Chôros: Chôros No. 2 (1924), Chôros, No. 7 (1924), and Quintette en forme de chôros (1928). The Chôros was chosen because these compositions exhibit the maturity of Villa-Lobos' writing style of Brazilian nationalistic language. This study also discusses the historical background of traditional choro music as a prominent style in Brazilian popular music during the 1920s and analyzes how this genre influenced the set of Villa-Lobos' Chôros.

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.

Mawson is a piece for computer realized quadraphonic tape, and Mertz is a duo for clarinet and horn. The pieces were written in celebration of the accomplishments of the 1911-1914 Mawson Antartic Expedition. The compositions are totally serialized, with a hexachord derived from Cartesian coordinates of Antartic locations used as source material. This hexachord was rotated and cyclically transformed to control attack, rhythm, pitch, and dynamics.Performance materials can be obtained from the Electronic Systems for Music Syntheses studio at Ball State University. / School of Music

How important is the player???s vocal tract in clarinet and saxophone performance? Acoustician???s opinions have ranged from ???negligible??? [Backus (1985), JASA 78, 17] to ???vocal tract resonance frequencies must match the frequency of the required notes??? [Clinch et al. (1982), Acustica 50, 280]. Musicians??? opinions are similarly varied. To understand how the tract-reed-bore system interacts, acoustical measurements of performers??? vocal tracts during playing were made using measurement heads mounted in the mouthpieces of a clarinet and a tenor saxophone. Acoustic impedance spectra of the tenor and soprano saxophone bores were also measured for all standard fingerings, and some others. For fingerings high in the tenor saxophone???s second register, bore impedance peaks downstream decrease with increasing pitch. Above the first 2.7 octaves, peak values fall below 30 MPa.s.m-3 and this ends the standard range available to amateurs. To play the higher altissimo notes, experts produced strong vocal tract resonances upstream with impedances 10-40 MPa.s.m-3 tuned to sound the desired note. While expert saxophonists adjust their vocal tract thus for altissimo playing, inexperienced players do not, and consequently cannot produce these notes. The smoothly rising clarinet glissando solo opening Gershwin???s Rhapsody in Blue was also investigated. Partially uncovering an open finger-hole smoothly raises clarinet resonances in the lower register, allowing continuous increases in playing pitch. When pitch bending in the second (clarino) register, experienced players produced strong tract resonances with impedances up to 60 MPa.s.m-3, comparable in magnitude with those of the clarinet bore (40-50 MPa.s.m-3). Thus during the glissando, sounding pitch is controlled by smoothly varying a strong resonance in the player???s vocal tract. The phase of the reed impedance is shown to make downwards pitch bending easier than upwards. Similar vocal tract adjustments were observed on the clarinet and saxophone for other advanced techniques such as bugling and multiphonic selection. During normal playing, although experienced players produced vocal tract impedance peaks with only moderate magnitude, these peaks were adjusted systematically to frequencies about 150 Hz higher than the sounding pitch (determined by strong bore resonances). This strategy may avoid the effects of small unwanted tract-bore interactions on sounding pitch.

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains 1 score (vi, 29 p.) For clarinet, bassoon, and chamber orchestra (two trumpets, two horns, tenor trombone, bass trombone, percussion, piano, harp, and strings (six first violins, six second violins, four violas, four cellos, and two basses) Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita. Includes transcript of interview, vita and discography of Bill Smith (leaves 257-286). Includes bibliographical references (leaves 240-256).

Thesis (M. Mus.)--University of Wisconsin--Madison, 1960. / For flute, oboe, clarinet, horn, and bassoon. Holograph. eContent provider-neutral record in process. Description based on print version record.

Thesis (M.A.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 11, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

Thesis (Ph. D.--Music)--University of California, San Diego. / Vita. For flute, violin, clarinet, violoncello, piano, percussion, and tape. Includes program notes and performance instructions preceding score.