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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.

The work of Nelson Goodman has significantly impacted the philosophical landscape of the latter half of the twentieth century. In this thesis I critically assess Goodman’s later metaphysics, particularly his ontological relativism and multiple worlds hypothesis. I argue that, while Goodman’s view is interesting and important to philosophic thought, it critically fails as a tenable metaphysical position. This failure is twofold: first, Goodman’s argument for ontological relativism rests on the representational fallacy and is therefore unsound; and second his position, when considered as a self-standing metaphysical doctrine, is incoherent. My conclusion is that Goodman must admit some mind-independent structure of reality, otherwise his view should be rejected. However, while I do not argue for any specific form of realism, once some mind-independent structure is admitted, a general realist position becomes preferable to Goodman’s anti-realist, relativist, and constructivist view. / Thesis (Master, Philosophy) -- Queen's University, 2013-09-11 13:59:52.292