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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3
PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?]. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Klarinette Komplett
58. WETTBEWERB 'JUGEND MUSIZIERT' 2021 Wertungsprogramm Seite 1 Klarinette, Altersgruppe II *Datum ungültig*, 0. *Datum ungültig* 0, h Rafael Asmus Leon, Göttingen Klarinette Jean Xavier Lefèvre (1763-1829) Cecilia Asmus Leon (AG III), Klavier Sonate Nr. 1 g-Moll Göttingen 1. Satz Allegro ma non troppo Carl August Nielsen (1865-1931) Fantasistykke Andante catabile Paul Harvey (1935) Pets a Suite of 8 Pieces for unaccompanied Clarinet No. 8 Jack and Gervase the jolly gerbils h Santiago Kirchhoff, Northeim Klarinette Darius Milhaud (1892-1974) Antonio Kirchhoff, Northeim Klavier Petit Concert pour clarinette en sib et piano B-Dur 1. Satz Allegro Darius Milhaud (1892-1974) Petit Concert pour clarinette en sib et piano B-Dur 3.Satz Finale Johann Carl Stamitz (1745-1801) Konzert für Klarinette und Orchester Nr.11 B-Dur 2. Satz Aria Paul Harvey (1935) Ten Tunesien For Kathy for unaccompanied Clarinet No. 10 Plane to Catch h Emily King, Buchholz Klarinette Valentin Hausmann (1560-1611) Dance and Afterdance B-Dur Manfred Schmitz (1939) Katzen - Suite B-Dur 1. Samtpfoten Swing, 2. Lovesong in the Moonlight 3. Starker Schmusekater Engelbert Humperdinck (1854-1921) Abendsegen B-Dur David Cullen (1959) Dodgems B-Dur h Mattis Wolter, Celle Klarinette Christine Marty-Lejon (1965) Johannes Reindl (AG II), Celle Klavier Ciel de neige Gareth Walters (1928-2012) Caprice Alexander Gretchaninoff (1864-1956) Song of the Dawn Gareth Walters (1928-2012) Serenade John Noble (1936-2006) Cat Mandu h Jule Niessner, Wolfsburg Klarinette Franz Krommer (1759-1831) Konzert in Es-Dur, op. 36 Pablo de Sarasate (1844-1908) Carmen fantasie: L´amour est un oiseau rebelle Ivan Kostlan (1877-1963) Etüde Nr. -
Download Booklet
120699bk Bechet 3 22/5/03 11:09 am Page 2 6. One O’Clock Jump 2:25 14. Save It Pretty Mama 2:51 Personnel (Count Basie) (Don Redman–Paul Denniker–Joe Davis) Victor 27204, mx BS 046833-1 Victor 27240, mx BS 053434-1 16 November 1938: Sidney Bechet, clarinet, 6 September 1940 (tracks 13-15): Rex Stewart, Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago soprano sax; Ernie Caceres, baritone sax; Dave cornet; Sidney Bechet, clarinet, soprano sax; Bowman, piano; Leonard Ware, electric guitar; Earl Hines, piano; John Lindsay, bass; Baby 7. Preachin’ Blues 3:02 15. Stompy Jones 2:47 (Sidney Bechet) (Duke Ellington) Henry Turner, bass; Zutty Singleton, drums Dodds, drums Bluebird B 10623, mx BS 046834-1 Victor 27240, mx BS 053435-1 5 February 1940: Sidney Bechet, clarinet, soprano 8 January 1941: Henry Allen, trumpet; J. C. Recorded 5 February 1940, New York Recorded 6 September 1940, Chicago sax; Sonny White, piano; Charlie Howard, Higginbotham, trombone; Sidney Bechet, 8. Shake It And Break It 2:54 16. Coal Black Shine 2:43 electric guitar; Wilson Myers, bass; Kenny clarinet; James Tolliver, piano; Wellman Braud, (Friscoe Lou Chicha–H. Quaill Clarke) (John Reid-Sidney Bechet) Clarke, drums bass; J. C. Heard, drums Victor 26640, mx BS 051222-1 Victor 27386, mx BS 058776-1 4 June 1940: Sidney de Paris, trumpet; Sandy 28 April 1941: Gus Aiken, trumpet; Sandy Recorded 4 June 1940, New York Recorded 8 January 1941, New York Williams, trombone; Sidney Bechet, clarinet, Williams, trombone; Sidney Bechet, soprano sax; 9. -
June 29 to July 5.Txt
CLASSIC CHOICES June 29 - July 5, 2020 PLAY DATE : Mon, 06/29/2020 6:02 AM Antonio Vivaldi Violin Concerto 6:11 AM Johann Nepomuk Hummel Serenade for Winds 6:31 AM Johan Helmich Roman Concerto for Violin and Strings 6:46 AM Carl Philipp Emanuel Bach Symphony 7:02 AM Johann Georg Pisendel Concerto forViolin,Oboes,Horns & Strings 7:16 AM Franz Joseph Haydn Piano Sonata No. 32 7:30 AM Jean-Marie Leclair Violin Concerto 7:48 AM Antonio Salieri La Veneziana (Chamber Symphony) 8:02 AM Heinrich Ignaz Franz Biber Mensa sonora, Part III 8:12 AM Wolfgang Amadeus Mozart Symphony No. 34 8:36 AM Johannes Brahms Violin Sonata No. 3 9:05 AM Leroy Anderson Concerto for piano and orchestra 9:25 AM Arthur Foote Piano Quartet 9:54 AM Leroy Anderson Syncopated Clock 10:00 AM Wolfgang Amadeus Mozart Requiem: Communio: Lux aeterna 10:06 AM Wolfgang Amadeus Mozart Violin Sonata No. 21, K 304/300c 10:23 AM Wolfgang Amadeus Mozart DON GIOVANNI Selections 10:37 AM Wolfgang Amadeus Mozart Sonata for 2 pianos 10:59 AM Felix Mendelssohn String Quartet No. 3 11:36 AM Mauro Giuliani Guitar Concerto No. 1 12:00 PM Danny Elfman A Brass Thing 12:10 PM Johann Strauss, Jr. Schwärmereien Concert Waltz 12:23 PM Franz Liszt Un Sospiro (A Sigh) 12:32 PM George Gershwin Rhapsody in Blue 12:48 PM John Philip Sousa Our Flirtations 1:00 PM Ludwig Van Beethoven Symphony No. 6 1:43 PM Michael Kurek Sonata for Viola and Harp 2:01 PM Paul Dukas La plainte, au loin, du faune...(The 2:07 PM Leos Janacek Sinfonietta 2:33 PM Johannes Brahms Violin Sonata No. -
Jelly Roll Morton Interviews Conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D
Jelly Roll Morton interviews conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D. Cohen (guest post)* Jelly Roll Morton Jelly Roll Morton (1885-1941), born Ferdinand Joseph Lamothe in New Orleans, had Creole parents. He began playing the piano at an early age in the New Orleans Storyville neighborhood during the birth pangs of jazz. For a decade, starting in 1907, he traveled the country as a vaudeville musician and singer; in 1915 his composition “The Jelly Roll Blues” became the first published jazz tune. From 1917 to 1923, he continued performing from his base in Los Angeles, then moved to Chicago where he met Walter and Lester Melrose, who had a music publishing company. Along with his sheet music, Morton began recording for Paramount Records in 1923 as well as for Gennett Records in Richmond, Indiana, and for the Autograph label. Backed by various session musicians, particularly the Red Hot Peppers, his most influential recordings came in 1926-30, first for Vocalion, then for RCA-Victor. With the onslaught of the Depression, Morton’s career languished, so he moved to New York, then Washington, D.C., in 1936. He now hosted show “The History of Jazz” on WOL and performed in a local club. Known in 1937 as the Music Box/Jungle Inn, there he met the young, creative, and energetic Alan Lomax. Born in Austin, Texas, the son of the folklorist John Lomax, Alan Lomax (1915-2002) had become assistant-in-charge of the Archive of American Folk Song at the Library of Congress (LC) in 1937. -
The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 12-May-2010 I, Chiu-Ching Su , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Viola It is entitled: A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas Student Signature: Chiu-Ching Su This work and its defense approved by: Committee Chair: Catharine Carroll, DMA Catharine Carroll, DMA 6/18/2010 657 A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2010 by Chiu-Ching Su B.M. Fu Jen Catholic University, 2001 M.M. University of Cincinnati, 2003 ABSTRACT Franz Anton Hoffmeister’s Viola Concerto in D Major (written prior to 1799) has become among the standard repertoire of viola concertos, due to the rise of viola virtuosos since the beginning of the twentieth century and the rarity of virtuosic viola concertos with stylistic forms from the Classical period. This piece has been included in several major orchestra auditions and competitions. While violists often lack hands-on experiences of the Classical repertoire, this document is to provide violists ways to perform this piece and pieces from the same period. Hoffmeister’s Viola Concerto in D Major has been published by G. Henle Verlag, Kunzelmann, Peters, Kalmus, International Music Company (New York), H. -
FLUTE/PICCOLO SOLO REPERTOIRE LIST Dr. Karen Mclaughlin Large Kansas State University
FLUTE/PICCOLO SOLO REPERTOIRE LIST Dr. Karen McLaughlin Large Kansas State University Baroque (Barenreiter or Amadeus editions preferred): Johann Sebastian Bach Partita in A minor (unaccompanied) Johann Sebastian Bach Sonatas in B minor, E-flat Major, A Major, C Major, E minor, E Major Johann Sebastian Bach Suite in B minor Carl Philipp Emanuel Bach Concerto in D minor Carl Philipp Emanuel Bach Hamburg Sonata in G Carl Philipp Emanuel Bach Solo Sonata in A minor (unaccompanied) Carl Philipp Emanuel Bach Sonatas in A minor, E major, D major Michel Blavet Sonatas Francois Couperin Concert Royal No. 4 Georg Friedrich Handel Sonatas Jean-Marie Leclair Sonata in G Op. 9, No. 7 Jean-Marie Leclair Concerto in C Op. 7, No. 3 Pietro Antonio Locatelli Sonata in F Marin Marais Les Folies d’Espagne for solo flute (unaccompanied) Giovanni Battista Pergolesi Concerto in G Johann Joachim Quantz Concerto in G Georg Philipp Telemann 12 Fantasies (unaccompanied) Georg Philipp Telemann Sonata in F Major for Piccolo Antonio Vivaldi Concerto in G minor, “La Notte” Antonio Vivaldi Piccolo Concertos in C Major, RV 443, 444, and A minor 445 Classical: Ludwig van Beethoven Serenade in D Major Franz Joseph Haydn Concerto in D Major Johann Nepomuk Hummel Concerto in D Major Friedrich Kuhlau Grand Solo no. 1 op. 57 Friedrich Kuhlau Variations on “Last Rose of Summer” Wolfgang Amadeus Mozart Andante in C and Rondo in D Wolfgang Amadeus Mozart Concerto in G Wolfgang Amadeus Mozart Concerto in D Wolfgang Amadeus Mozart Concerto in C with Harp Carl Stamitz Concerto -
Dr. Michael White: Biography
DR. MICHAEL WHITE: BIOGRAPHY Dr. Michael White is among the most visible and important New Orleans musicians today. He is one of only a few of today’s native New Orleans born artists to continue the authentic traditional jazz style. Dr. White is noted for his classic New Orleans jazz clarinet sound, for leading several popular bands, and for his many efforts to preserve and extend the early jazz tradition. Dr. White is a relative of early generation jazz musicians, including bassist Papa John Joseph, clarinetist Willie Joseph, and saxophonist and clarinetist Earl Fouche. White played in St Augustine High School’s acclaimed Marching 100 and Symphonic bands and had several years of private clarinet lessons from the band’s director, Edwin Hampton. He finished magna cum laude from Xavier University of Louisiana with a degree in foreign language education. He received a masters and a doctorate in Spanish from Tulane University. White began teaching Spanish at Xavier University in 1980 and also African American Music History since 1987. Since 2001 he has held the Charles and Rosa Keller Endowed Chair in the Humanities at Xavier. He is the founding director of Xavier’s Culture of New Orleans Series, which highlights the city’s unique culture in programs that combine scholars, authentic practitioners, and live performances. White is also a jazz historian, producer, lecturer, and consultant. He has developed and performed many jazz history themed programs. He has written and published numerous essays in books, journals, and other publications. For the last several years he has been a guest coach at the Juilliard Music School (Juilliard Jazz).