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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aity type of computer printer. The quality of this reproduction is dqxendeit upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtfarough, substandard margins, and inqTToper alignment can adversely affect repiuduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note ^viH indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlq>s. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for aity photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 JIMMY HAMILTON AND RUSSELL PROCOPE: THE CLARINET SOLOISTS OF THE DUKE ELLINGTON ORCHESTRA, 1943-1974 DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Thomas T. Reed, B.M.E., M. Mus. ***** The Ohio State University 1995 Dissertation Committee: Approved by J. Delzell M. Ellis W. McDaniel J. Pyne, Adviser Adviser, Schoo/of Music UMI Number: 9612139 Copyright 1995 by Reed, Thomas Terry All rights reserved. DMI Microform 9612139 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Thomas T. Reed 1995 ACKNOWLEDGEMENTS The dedicated work of the members of the Dissertation Committee and the D.M.A. (General Exam) Committee is gratefully acknowledged. In particular I want to thank my adviser, Prof. James Pyne, and Dr. Mark Ellis, who spent many hours thoughtfully reading and commenting upon the various drafts of this document. I am also indebted to Shawna Pearce, a student at Ashland University, who completed most of the music copying for this project. Finally I would like to thank my wife Jane, and our children Marian and Charles, whose patience and support have been invaluable throughout my pursuit of this degree. I also want to call to the reader’s attention Appendix B, which contains notices of the permitted use of previously copyrighted materials in this document. VITA September 27, 1961 .................................... Bom - Kent, Ohio 1983 ......................................................... B.M.E.. The University of Michigan 1984-198 6 ................................................. Adjunct Music Faculty, Ashland College, Ashland, Ohio 198 5 .......................................................... M.M., The University of Akron Akron, Ohio 1985-198 7 ................................................. Adjunct Music Faculty, The University of Akron, Akron, Ohio 1986 - present ........................................ Ashland University, Ashland, Ohio, Associate Professor of Music 1988 - 1992 ........................................... Saxophonist, Cleveland Jazz Orchestra, Cleveland, Ohio. 1990-1995 .............................................. Chairman, Department of Music, Ashland University, Ashland, Ohio 1990 - present ........................................ Principal Clarinet, Ashland Symphony Orchestra, Ashland, Ohio 1995 - present ........................................ Bass Clarinet, Akron Symphony Orchestra, Akron, Ohio 111 FIELDS OF STUDY Major Field: Music Studies in: Clarinet: James Pyne Woodwind Pedagogy and Literature: Christopher Weait Music Education: Judith Delzell Saxophone: Eugene Walker Improvisation: Hank Marr Musicology: Charles Atkinson Music Theory: Donald Gibson IV TABLE OF CONTENTS Acknowledgements .....................................................................................................ii V ita ............................................................................................................................... ill List of Figures ......................................................................................................... viii Preface.............................................................................................................................1 CHAPTER I. Introduction...........................................................................................................4 II. Jimmy Hamilton - A Biographical Sketch .................................................... 9 III. Russell Procope - A Biographical Sketch ......................................................20 IV. Jimmy Hamilton as a Clarinetist General Com m ents ............................................................................34 Hamilton’s Playing S ty le ................................................................ 35 Hamilton’s Role as a Clarinet Soloist ..........................................41 "Ad Lib On Nippon" and "Air Conditioned Jungle" .................48 Criticism and Evaluation of Hamilton’s W o rk ............................58 V. Russell Procope as a Clarinetist General Comments .............................................................................63 Procope’s Playing S ty le .................................................................... 64 Procope’s Role as a Clarinet Soloist ..............................................76 Context and Accompaniment ............................................................77 Literamre and Criticism .................................................................... 78 VI. Hamilton and Procope as Saxophonists General Comments .............................................................................81 Playing in tlie S ectio n ....................................................................... 81 Hamilton as a Saxophonist ...............................................................82 Procope as a Saxophonist ................................................................. 87 Summary ......................................................................................... 92 VII. Compositions Using Both Hamilton and Procope General Comments .............................................................................93 Ensemble Playing and B lend ............................................................94 Compositions with Contrasting Clarinet S o lo s ............................ 95 Solos by Hamilton and Procope T o g eth er ................................... 102 VIII. Conclusions .....................................................................................................109 Appendices A. Transcriptions ..............................................................................118 B. Copyright N otices ..................................................................... 170 C. D.M.A. Recital Programs ....................................................... 174 v i List of References Books and Articles ...........................................................................176 Interviews and Oral H istories .......................................................180 Sound Recordings .......................................................................... 180 F ilm s ................................................................................................. 182 Vll LIST OF FIGURES Number Title Page Number 1. "Stomping at the Savoy," m. 26-32 ..................................................... 36 2. "Air Conditioned jungle," m. 1 - 2 2 ........................................................ 36 3. "Stomping at the Savoy," m. 19-25 ..................................................... 37 4. "Newport Up," m. 55-60 ......................................................................... 39 5. "Air Conditioned Jungle," m. 78-97 .................................................... 50 6. "Air Conditioned Jungle," m. 52-63 .................................................... 50 7. "Air Conditioned Jungle," m. 170-175 .................................................. 52 8. "Ad Lib On Nippon," m. 1 - 3 ...................................................................54 9. "Ad Lib On Nippon," m. 51-65 ................................................................55 10. "Ad Lib On Nippon," m. 149-155 ....................................................... 57 11. "Blues To Be There," m. 19-22 ............................................................ 67 12. "Mood Indigo," m. 33-38 ....................................................................... 68 13. "Swamp Goo," m. 73-76 .......................................................................... 69 14. "Swamp Goo," m. 80-88 .......................................................................... 70 15. "Blues To Be There," m. 21-2 3 .............................................................. 72 16. "Mood Indigo," m. 43-44 ...................................................................
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