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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. -
RCM Clarinet Syllabus / 2014 Edition
FHMPRT396_Clarinet_Syllabi_RCM Strings Syllabi 14-05-22 2:23 PM Page 3 Cla rinet SYLLABUS EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery. -
Barbara L. Johnson Chair, Pro Bono and Community Employment Law
Chair's Corner PBN Features Atlanta Beijing London Los Angeles Barbara L. Johnson Chair, Pro Bono and Community Milan Employment Law Partner New York Welcome to the current issue of Pro Bono News. I am pleased to report that in 2008, our attorneys dedicated more than Orange County 68,000 hours of pro bono and community service work, a 58% increase from the previous year. San Diego Inspired by the Paul Hastings Pro Bono Challenge (a firmwide San Francisco initiative aimed at increasing the number of pro bono hours per attorney from 25 to 75 annually), lawyers at all levels Shanghai increased their pro bono participation, with 83.1 hours logged on average per attorney. Washington, D.C. At the Firm’s recent Partner’s Retreat, Paris partner Dominique Borde was named the recipient of the 2009 Resources Hastings Award for Community Service, an honor given to a firm partner who demonstrates sustained leadership in Office Contacts: community and pro bono service. A long-time board member Pro Bono & of Doctors Without Borders, Dominique has devoted hundreds Community of pro bono work hours to support causes as diverse as helping Committee visual artists to obtain licensing agreements to assisting Afghan women in their pursuit of education and equal rights. Congratulations to Dominique for his pro bono commitment! This year, we are challenging every Paul Hastings attorney to increase his/her commitment to pro bono legal services and have created the Global Pro Bono Hours Recognition Program to recognize attorneys for their local and global efforts. Award winners will be announced in a special edition of Pro Bono News. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
The Clarinet and Piano
REVIEWS The explanations are succinct without CLARINET AND PIANO BOOKS sacrificing depth of understanding. The Brian Balmages. Dream Sonatina for Kornel Wolak. Articulation Types for pictures highlighting each muscle group are well presented and clear, and the clarinet and piano. Potenza Music, Clarinet. Music Mind Inc., 2017. 54 2015. Duration 10’30” $24.95 pp. PDF e-book $14.99, hard copy bibliography of materials for additional $19.99 study compliments his explanations nicely. American composer Brian Balmages I found this part of the book particularly (b. 1975) has written numerous works helpful. It directs the student to additional for wind and brass instruments. Dream exercises and methods that will help refine Sonatina was composed for clarinetist the technique in question. Articulation Marguerite Levin and premiered by Types for Clarinet is an excellent primer her in Weill Recital Hall, New York and first step in the understanding and City. Balmages fulfilled the specifics of application of the various available the commission by composing a work reflecting life in his 30s. For Balmages articulations. It was an enjoyable read, this centered on the birth of his two and I recommend it to anyone looking to children and three types of dreams they present articulation concepts to students experienced: daydreams, sweet dreams in a fresh and novel way. and bad dreams. The dreams are each Kornel Wolak’s book Articulation Types – Osiris Molina portrayed in a separate movement. for Clarinet is an extension of his work for The music is well-written, convincing Music Mind Inc. and his graduate research and of medium-hard difficulty, and it uses at the University of Toronto. -
Cameron Burgess - Clarinet BBM Youth Support Report - June 2013
Cameron Burgess - Clarinet BBM Youth Support Report - June 2013 My trip to the UK was an incredibly rewarding and exciting experience. In my lessons I gained a wealth of information and ideas on how to perform British clarinet repertoire, and many different approaches and concepts to improve my technique, which I have found invaluable in my development as a musician. I was also able to collect a vast amount of data on Frederick Thurston, who is the focal point of my honours thesis. Much of this information I probably would not have discovered had it not been for my trip to the UK. I was also fortunate enough to attend numerous concerts by the London Symphony Orchestra, Halle Orchestra, London Chamber Orchestra and Southbank Sinfonia, as well as visit London’s many galleries and museums. After arriving in the UK I traveled from Manchester to London for my first lesson, which was with the Principal of the Royal College of Music and renowned Mozart scholar, Professor Colin Lawson. Much of my time in this lesson was devoted to Mozart’s Clarinet Concerto. I had been fortunate enough to attend a master class given by Professor Lawson at the Sydney Conservatorium in 2010 and had gained some ideas on how to interpret the work, however this was expanded on greatly, and my ideas and concepts on how to perform the work completely changed. As well as this we spent some time discussing my thesis topic, how it could potentially be improved and what new ideas I could also include. Professor Lawson also very generously provided me with some incredibly useful literature on Thurston, published for his centenary celebration, which is no longer in print. -
Programa2016.Pdf
l Encuentro de Música y Academia cumple un año más el reto de superarse a sí mismo. La programación de 2016 combina a la perfección la academia, la experiencia y el virtuosismo de los más grandes, como el maestro Krzysztof Penderecki, con la frescura, las ganas y el entusiasmo de los jóvenes músicos Eparticipantes en esta cita ineludible cada verano en Cantabria. Más de 50 conciertos en los escenarios del Palacio de Festivales de Cantabria, en el Palacio de La Magdalena y en otras 22 localidades acercarán la Música con mayúsculas a todos los rincones de la Comunidad Autónoma para satisfacer a un público exigente y siempre ávido de manifestaciones culturales. Para esta tierra, es un privilegio la oportunidad de engrandecer su calendario cultural con un evento de tanta relevancia nacional e internacional. Así pues, animo a todos los cántabros y a quienes nos visitan en estas fechas estivales a disfrutar al máximo de los grandes de la música y a aportar con su presencia la excelente programación que, un verano más, nos ofrece el Encuentro de Música y Academia. Miguel Ángel Revilla Presidente del Gobierno de Cantabria esde hace ya 16 años, el Encuentro de Música y Academia de Santander sigue fielmente las líneas maestras que lo han convertido en un elemento muy prestigioso del verano musical europeo. En Santander —que es una delicia en el mes de julio— se reúnen jóvenes músicos seleccionados uno a uno mediante audición en las escuelas de mayor prestigio Dde Europa, incluida, naturalmente, la Reina Sofía de Madrid. Comparten clases magistrales, ensayos y conciertos con una serie igualmente extraordinaria de profesores, los más destacados de cada instrumento en el panorama internacional. -
Booklet 125X125.Indd
1 2 3 CONTENTS A RECORDED HISTORY Philip Stuart 7 REMINISCENCES BY LADY MARRINER 18 A FEW WORDS FROM PLAYERS 21 HISTORY OF THE ACADEMY OF SAINT MARTIN IN THE FIELDS Susie Harries (née Marriner) 36 CD INFORMATION 44 INDEX 154 This Edition P 2020 Decca Music Group Limited Curation: Philip Stuart Project Management: Raymond McGill & Edward Weston Digital mastering: Ben Wiseman (Broadlake Studios) TH 60 ANNIVERSARY EDITION Design & Artwork by Paul Chessell Special thanks to Lady Marriner, Joshua Bell, Marilyn Taylor, Andrew McGee, Graham Sheen, Kenneth Sillito, Naomi Le Fleming, Tristan Fry, Robert Smissen, Lynda Houghton, Tim Brown, Philip Stuart, Susie Harries, Alan Watt, Ellie Dragonetti, Gary Pietronave (EMI Archive, Hayes) 4 5 A RECORDED HISTORY Philip Stuart It all started with L’Oiseau-Lyre - a boutique record label run by a Paris-based Australian heiress who paid the players in cash at the end of the session. The debut LP of Italianate concerti grossi had a monochrome photograph of a church porch on the cover and the modest title “A Recital”. Humble beginnings indeed, but in 1962 “The Gramophone” devoted a full page to an enthusiastic review, concluding that it was played “with more sense of style than all the chamber orchestras in Europe put together”. Even so, it was more than a year before the sequel, “A Second Recital”, appeared. Two more such concert programmes ensued [all four are on CDs 1-2] but by then the Academy had been taken up by another label with a shift in policy more attuned to record collectors than to concert goers. -
O Ensino Da Clarineta Em Nível Superior: Materiais Didáticos E O Desenvolvimento Técnico-Interpretativo Do Clarinetista
Universidade Federal da Paraíba Centro de Comunicação, Turismo e Artes Programa de Pós-Graduação em Música Mestrado em Música O Ensino da Clarineta em Nível Superior: materiais didáticos e o desenvolvimento técnico-interpretativo do clarinetista Eduardo Filippe de Lima João Pessoa Março de 2019 Universidade Federal da Paraíba Centro de Comunicação, Turismo e Artes Programa de Pós-Graduação em Música Mestrado em Música O Ensino da Clarineta em Nível Superior: materiais didáticos e o desenvolvimento técnico-interpretativo do clarinetista Eduardo Filippe de Lima Orientador: Dr. Fábio Henrique Gomes Ribeiro Trabalho apresentado ao Programa de Pós-Graduação em Música da Universidade Federal da Paraíba como requisito para a obtenção do título de Mestre em Música, área de concentração em Educação Musical. João Pessoa Março de 2019 Catalogação na publicação Seção de Catalogação e Classificação L732e Lima, Eduardo Filippe de. O Ensino da Clarineta em Nível Superior: materiais didáticos e o desenvolvimento técnico-interpretativo do clarinetista / Eduardo Filippe de Lima. - João Pessoa, 2019. 111f. : il. Orientação: Fábio Henrique Gomes Ribeiro. Dissertação (Mestrado) - UFPB/CCTA. 1. Ensino de instrumento musical. 2. Ensino da clarineta em nível superior. 3. Materiais didáticos para clarineta. 4. Desenvolvimento técnico-interpretativo do clarinet. I. Ribeiro, Fábio Henrique Gomes. II. Título. UFPB/BC 3 AGRADECIMENTOS Gostaria de agradecer imensamente a todos que contribuíram de maneira direta e indireta para a conclusão desse curso de mestrado, o qual me trouxe um profundo amadurecimento pessoal e profissional, e que simboliza o encerramento de mais um ciclo na minha carreira musical. À minha família, que sempre me deu apoio e o suporte necessário para continuar com todos os meus projetos, incluindo esse curso; Ao meu orientador, prof. -
Prominent Schools of Clarinet Sound (National Styles)
Prominent Schools of Clarinet Sound (National Styles) German School (Oehler system, up to 27 keys) Description: dark, compact, well in tune but difficult to play very softly Players: Karl Leister, Sabine Meyer French School (Boehm system, 16 or 17 keys) Description: clear, bright/too bright, large dynamic range Players: Anthony Gigliotti, Phillippe Cuper Italian School (Boehm system) Description: voice-like quality Opera tradition Players: Ernesto Cavallini, Alessandro Carbonare American School (Boehm system) Description: Strong French influence but more open and wide, more air and flexibility Connections to jazz and film music Players: Larry Combs, Richard Stolzman, Charles Neidich, Benny Goodman, Artie Shaw JDG 20200815 The Most-used Types of Clarinets Band Eb Clarinet Bb Clarinet***** Eb Alto Clarinet Bb Bass Clarinet Eb Contra Alto Clarinet Bb Contra Bass Clarinet Orchestra Eb Clarinet C Clarinet Bb Clarinet A Clarinet Bb Bass Clarinet Worth Mentioning Basset Horn (in F) Basset Clarinet (in A) When an instrument plays its C and that sound/pitch is the same as the piano’s C, we say the instrument is “in C” When an instrument plays its C and that sound/pitch is the same as the piano’s Bb, we say the instrument is “in Bb” When an instrument plays its C and that sound/pitch is the same as the piano’s Eb, we say the instrument is “in Eb” And so on. JDG 20200815 Equipment Clarinets Rubber/plastic/ebonite, wood, carbon composites • Buffet • Selmer • LeBlanc • Yamaha • Bundy Mouthpieces Rubber, glass (metal) • Vandoren • Selmer • Yamaha • LeBlanc Reeds Cane or synthetic • Vandoren • Rico • Alexander • Gonzalez Ligatures and mouthpiece caps • Vandoren • Bonade (inverted) • LeBlanc • Rovner • Unnamed Tips • I purchase new instruments and used instruments. -
JEAN ANN HITE Résumé, April 2012 440 W. 21St Street, Box 211 New
JEAN ANN HITE Résumé, April 2012 440 W. 21st Street, Box 211 New York, NY 10011 Cell Phone: (239) 980-0912 Email: [email protected] Objective: To obtain a position as a rector or an assistant/associate rector or curate, focusing on reconciliation, teaching and preaching, liturgy and worship, formation and pastoral care Present Status: Transitional Deacon, Episcopal Diocese of SW Florida • Student, The General Theological Seminary (New York City), Class of 2012, Master of Divinity degree program Work Experience: 2011-Present St. Clement’s Episcopal Church, New York, NY: Seminarian Intern • Preaching • Liturgical Diaconal Ministry • Spiritual director 2010–Present The Church of the Epiphany, New York, NY: Seminarian Intern • Adult Education: Class content design and facilitation • Quiet Day Meditations • Liturgical Diaconal Ministry and Evening Prayer Officiant • Preaching • Office and web-site consultation Summer 2011 St. Mark’s Episcopal Church, Marco Island, FL: Seminarian Intern • Camp Able (summer camp for disabled children) • Vacation Bible School • Preaching • Pastoral care seminars Summer 2010 Morton Plant Hospital, Clearwater, FL: Clinical Pastoral Education • Hospital Chaplain 2006-2009 St. Mary’s Episcopal Church, Bonita Springs, FL: Lay Leadership • Establishment and leadership of Taizé worship • Morning and Evening Prayer Officiant; Lay Reader and Leader • Preaching (weekend Eucharists, Taizé, weekday Eucharists) • Pastoral care representation - Bentley Village, Naples • Nursing home ministry • Lay Eucharistic and Visitation