This thesis, titled ”Exploration in Art Music”, was conceived based on my curiosity to explore and compose music which combines the styles of jazz and Western classical music. Inspired by the Third Stream movement led by Gunther Schuller, which evolved in parallel with the 50’s avant-garde jazz scene, I have composed three musical pieces for a twelve-piece orchestra consisting of woodwinds, strings, and a jazz quartet. I’ve examined this work from the following two perspectives: As a composer – exploring ways to fuse the genres, observing contrasting idioms, and finding ways of opening up for improvisation when the music is otherwise through-composed. As a musician and bandleader – noticing how musicians from each of the two musical cultures approach and interpret written and improvised music. Throughout the project I have gotten a deeper insight into the culture of Western classical music, and this thesis observes and analyzes some of the differences and similarities, musically and performance-wise, between that and the jazz culture which I am originating from. / <p><strong>Framförd musik:</strong></p><p><em>Antmarch</em> - Erik Hasselfeldt</p><p><em>Midnatt i 1C307</em> - Erik Hasselfeldt</p><p><em>Akta dig för scootrar</em> - Erik Hasselfeldt</p><p><em>Louange á l’éternité de Jésus</em> - Olivier Messiaen</p><p><em>I stormens öga</em> - Erik Hasselfeldt</p><p><strong>Medverkande:</strong></p><p>Tvärflöjt – Tiitta Moilanen</p><p>Oboe – Sabina Scott</p><p>Bb Klarinett – Filippa Hedberg</p><p>Bb Klarinett &amp; basklarinett – Eskil Larsson</p><p>Fagott – Ciarán Hayes</p><p></p><p>Fiol – Maria Ikonen</p><p>Fiol – Vidar Karlsvärd</p><p>Cello – Elis Hakola</p><p></p><p>Sopran &amp; altsaxofon – Erik Hasselfeldt</p><p>Piano – Milos Lindegren</p><p>Kontrabas – Amanda Karström</p><p>Trummor – Filip Bällstav Öhman</p><p>Trumpet – Tumi Torfason</p>

For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.

The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.

The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.

The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.