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In music education today there is a trend toward a greater understanding of the fundamentals of music. Investigations have been undertaken to determine exactly what a musical tone is made of and why individuals respond to it in certain ways. In all fields these endeavors have led to an objective view of what has been primarily a subjective area. A knowledge of why something happens or of a relationship between factors in a situation is always of ultimate value in teaching situations. In this light many studies have been done concerning musical tone analysis, and particularly, clarinet tone analysis. The clarinet has been the center of tone analysis for some thirty-five years, perhaps because it is an acoustical enigma, or perhaps because there are more clarinetists interested in analyzing their instrument. In any case, analyses have been performed dealing with characteristic partial spectrums, design of the bore in relation to the tone, effect of the reed on tone, effect of the player on tone, and comparisons of tones produced by clarinets made of various substances. This paper deals with the latter of these topics: comparisons of tones produced by clarinets made of various substances. The object of this research is not to prove or disprove a similarity or difference in sound but to identify any relative similarities and differences found in the tonal spectrums by the method of testing presented in this study.

This study examines the development and creation of the clarinet in the seventeenth and eighteenth century, and the start of their use as a solo instrument in the eighteenth century. This explores Mozart's utilization and development for the clarinet to other various composers and their contributions.

Clarinet-percussion duos, music for one clarinetist and one percussionist, are a relatively new addition to the world of chamber music - the first work for this instrumentation was written in 1958. Throughout the second half of the 20th century, however, the genre became increasingly more popular, boasting at least 260 works before the year 1990, and dozens more between 1990 and 2000. After 2000, the genre managed to become an even larger branch of chamber music by adding at least 137 new works. Additionally, many performers dedicated solely to the grouping began to arise even before the end of 2015.This study explores the many facets of the clarinet-percussion duo that are making it a successful genre in the 21st century. It initially briefly examines the history of the clarinet-percussion duo prior to the year 2000 to provide the reader with essential background on the genre. Second, it includes a detailed survey of all clarinet-percussion duos the author was able to locate written since the year 2000, examining how the genre has grown over time in terms of compositional style and techniques, instrumentation, and national origin of the composers of the duos. Third is an overview of the growing number of clarinet-percussion performing duos and their effect on the genre in terms of commissioning works for the grouping and generating greater public exposure to the genre. The final section of the study is a set of discussions of five specific works from the genre, each detailing how the work is unique among others yet remains a key component of the clarinet-percussion oeuvre.

Typescript. Bibliography: leaves 129-130. Includes discographies.

This thesis included a chronological register of historical bass clarinets dating from c. 1750 to the twentieth century. Using this register as an outline, the early history of, and the development of the physiognomy of the bass clarinet were narrated. An effort was made to point out the discrepancies that exist between major sources which mention the bass clarinet. It was hoped that this thesis would serve as a starting place for future research concerning the bass clarinet. (Eighteen illustrations.) / text

Fantasia and rondo, op 34 / Carl Maria von Weber -- Sonata for clarinet solo / Edison Denisov -- Bucolique / Eugene Bozza -- Cinco bocetos / Roberto Sierra -- Cookbook / Kenji Bunch. / text

Multi-movement miniature works for clarinet of the twentieth century -- Four pieces for clarinet and piano, op. 5 / Alban Berg -- Three pieces for clarinet solo / Igor Stravinsky -- Sonatine for clarinet and piano / Arthur Honegger -- Three miniatures / Krysztof Penderecki -- Variants for solo clarinet / William O. Smith -- Cinco bocetos / Roberto Sierra. / text

Quartet for clarinet and string trio / Krzysztof Penderecki -- Esprit rude; esprit doux / Elliot Carter -- Corker / Libby Larsen -- Clarinet trio, op. 114 / Johannes Brahms. / text

Suite from The soldier's tale / Igor Stravinsky -- Concertpiece no. 1 in F minor, opus 113 / Felix Mendelssohn -- Trio in B flat major, op. 274 / Carl Reinecke. / text