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The purpose of this study was to identify the specific advanced clarinet techniques in which further knowledge is required and to provide a resource for band directors to aid in the instruction of these techniques. In order to determine results, a survey was administered to high school band directors who are members of the Florida Bandmasters Association (N = 131). Sixteen band compositions were selected based on survey responses for analysis of technical challenges ranging from grade levels 4-6 on the Florida Bandmasters Association Concert Music List. The results of the band composition analysis and the survey responses were analyzed using descriptive statistics and topics to be included in the guide were chosen based on these results. The first part of this essay details the need for the study, a review of literature, the method of the study, the results of the study and a summary/conclusions section which includes implications for further research. The second part of this essay is the resource guide for band directors. The topics that were selected to be included in the guide are: Embouchure, Tone, Intonation and Tuning, Hand Position and Finger Technique, The Break, Altissimo, Articulation, Auxiliary Clarinets and Reeds, Equipment and Care. An appendix is also included which provides further resources for solo repertoire, method and etude books and a discography.

162 f.:il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T12:30:38Z No. of bitstreams: 1 Tese Celso Jose Rodrigues Benedito.pdf: 1079327 bytes, checksum: 24eaf18903131f9cb987e587dfe96332 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:12:38Z (GMT) No. of bitstreams: 1 Tese Celso Jose Rodrigues Benedito.pdf: 1079327 bytes, checksum: 24eaf18903131f9cb987e587dfe96332 (MD5) / Made available in DSpace on 2013-03-22T14:12:38Z (GMT). No. of bitstreams: 1 Tese Celso Jose Rodrigues Benedito.pdf: 1079327 bytes, checksum: 24eaf18903131f9cb987e587dfe96332 (MD5) Previous issue date: 2011 / O presente trabalho teve como objeto de estudo a prática de ensino-aprendizagem de música dos mestres de filarmônicas da Bahia. Os mestres baianos, figuras centrais desta pedagogia, desenvolveram um modelo de educação musical que possibilita a adequação do treinamento à individualidade de cada aprendiz. Grande parte deste aprendizado ocorre com os músicos mais antigos e persiste na convivência de seus integrantes com a rotina musical da entidade. Na filarmônica jamais se perde de vista o fazer musical e a metodologia de ensino favorece o preparo rápido para o ingresso do aluno no grupo. O trabalho está estruturado em quatro capítulos denominados a partir de expressões usuais extraídas da pedagogia das filarmônicas: ― "Conforme Lê, conforme toca” (Metodologia); ― "Pegar o instrumento" (Fundamentação Teórica). O ― "Passar para a estante" (Transcrição dos dados) e o ― "Ingresso no Grupo" (Análise). A investigação abordou as seguintes questões: quais competências os mestres de filarmônica necessitam para exercer sua função; quais os processos de ensino, como o corpo musical da banda concebe a formação dos mestres, as dificuldades desta prática nos dias de hoje e a possibilidade de incluí-la no ensino básico. A pesquisa constatou ser o mestre de filarmônica um educador musical. Muitos dos procedimentos didáticos adotados pelos mestres podem proporcionar uma valiosa contribuição à Educação Musical Brasileira. É preciso valorizá-los como educadores, reconhecer suas práticas musicais e oportunizar a disseminação de tais saberes. / Salvador

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Esta tesis doctoral tiene como objetivo principal el estudio de las veintidós obras sinfónicas del compositor Manuel Berná, (Albatera, Alicante-España 22/ agosto/ 1915). Se subraya la importancia de su estilo propio, encuadrado en la armonía tonal alterada, que huye de la duplicación de la octava, prefiriendo sextas y séptimas alteradas. Asimila el impresionismo, con gran dominio del color de la orquesta; el puntillismo, donde tienen valor las notas individualmente, fragmentando mucho las melodías; y el simbolismo, buscando la representación de la esencia del objeto o la psicología del personaje. Esto unido a una mentalidad contemporánea, elevando la música popular a la categoría de sinfónica. Predomina el tono sobre el modo: dentro de la politonalidad e incluso de una pantonalidad, aportando la idea estética de la influencia del semitono.Atento a las nuevas corrientes, vivo ejemplo de tenacidad, sabiendo evolucionar y aportar su estética a futuras generaciones, como compositor clásico. - / The aim of this thesis is to study the twenty-two symphonic works of the composer Manuel Berná, (born Albatera, Alicante, Spain, 22/08/1915).It emphasises the importance of his style within the framework of altered tonal harmony, which avoids doubling the octave, rather using altered sixths and sevenths. It assimilates Impressionism with its command of the orchestral colours; Pointillism, in which every note has equal importance, producing fragmentation in the melodies; and Symbolism, with its search for the representation of the essence of the objects or the psychology of the characters. These techniques and his contemporary mentality raise Popular Music to the category of Symphonic Music. Key takes precedence over mode within polytonality and even pantonality, contributing the aesthetic idea of influence of the semitone. As a classical composer, he was up to date with new trends, a living example of tenacity, evolving and contributing his aesthetics to new generations.

Syftet med denna studie är att genom kvalitativa intervjuer ta reda på hur fem musiklärare i grundskolan beskriver sin roll och erfarenhet av att leda och genomföra elevers sceniska framställningar. Resultatet visar att förutsättningarna mellan skolor varierar i hög utsträckning. För tre av fem lärare utgjorde det nyligen borttagna ämnet elevens val stommen för arbete med showverksamheten. Skolledarens inställning och sätt att prioritera pekas ut som avgörande för att skapa nödvändiga förutsättningar. Lärarna ser skillnader från den ordinarie undervisningen i ökat elevinflytande över processen och innehållet och således den handledande roll de själva tar. Samtliga lärare hittar stöd i styrdokumenten för att berättiga verksamheten och lyfter flera aspekter av nytta den har för eleverna sett till det akademiska, sociala, personliga och yrkeslivsförberedande. / The purpose of this study is to find out through interviews how five Swedish compulsory school music teachers describe their role and experience of managing and working with stage performances. Results show that conditions vary greatly between schools. Three out of five teachers were heavily dependent on pupil’s choice – a recently removed selective subject that enabled pupils to deepen and broaden their knowledge in one or more subjects – for organizing and managing such activities. School administrators’ attitude and ways of prioritizing are pointed out as crucial for creating the necessary conditions. Teachers observe higher levels of student democracy regarding the process and the content and thus also notice a change in their own role toward tutors rather than teachers. All teachers find support in the curriculum in order to justify these activities and mention several aspects of value they have for their pupils, such as academical, social, personal, as well as preparatory for their future careers.