2006 Heft 1 Zum Heft
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors. -
The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1. -
The Rise and Fall of the Bass Clarinet in a the RISE and FALL of the BASS CLARINET in A
Keith Bowen - The rise and fall of the bass clarinet in A THE RISE AND FALL OF THE BASS CLARINET IN A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. Unlike the bass instruments in C and Bb, it is not known to have a history in wind bands. Its appearance was not, so far as is known, accompanied by any negotiations with makers. Over the next century, it was called for by over twenty other composers in over sixty works. The last works to use the bass in A are, I believe, Strauss’ Sonatine für Blaser, 1942, and Messiaen’s Turangalîla-Symphonie (1948, revised 1990) and Gunther Schuller’s Duo Sonata (1949) for clarinet and bass clarinet. The instrument has all but disappeared from orchestral use and there are very few left in the world. It is now often called obsolete, despite the historically-informed performance movement over the last half century which emphasizes, inter alia, performance on the instruments originally specified by the composer. And the instrument has been largely neglected by scholars. Leeson1 drew attention to the one-time popularity and current neglect of the instrument, in an article that inspired the current study, and Joppig2 has disussed the use of the various tonalities of clarinet, including the bass in A, by Gustav Mahler. He pointed out that the use of both A and Bb clarinets in both soprano and bass registers was absolutely normal in Mahler’s time, citing Heinrich Schenker writing as Artur Niloff in 19083. Otherwise it has been as neglected in the literature as it is in the orchestra. -
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. -
Oboe in Oxford Music Online
14.3.2011 OboeinOxfordMusicOnline Oxford Music Online Grove Music Online Oboe article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/40450 Oboe (Fr. hautbois ; Ger. Oboe ; It. oboe ). Generic term in the system of Hornbostel and Sachs for an aerophone with a double (concussion) reed (for detailed classification see AEROPHONE ). The name is taken from that of the principal treble double-reed instrument of Western art music (see §II below). I. General 1. Oboes. The AULOS of ancient Greece may sometimes have had a double reed, and some kind of reed aerophone was known in North Africa in pre-Islamic times. Instruments of the SURNĀY type became established with the spread of the Arab empire around the end of the first millennium CE; they were possibly a synthesis of types from Iran, Mesopotamia, Syria and Asia Minor. From there the instrument, then used in a military role, spread into conquered areas and areas of influence: to India, and later, under the Ottoman empire, to Europe (around the time of the fifth crusade, 1217–21; there may already have been bagpipes with double reeds there) and further into Asia (to China in the 14th century). As the instrument spread, it came to be made of local materials and fashioned according to local preferences in usage, shape and decoration: the ŚAHNĀĪ of north India has a flared brass bell; the SARUNAI of Sumatra has a palm leaf reed and a bell of wood or buffalo horn; the ALGAITA of West Africa is covered with leather and has four or five finger-holes. -
The Earliest Music for Bass Clarinet Pdf
THE EARLIEST BASS CLARINET MUSIC (1794) AND THE BASS CLARINETS BY HEINRICH AND AUGUST GRENSER Albert R. Rice C.I.R.C.B. - International Bass Clarinet Research Center THE EARLIEST BASS CLARINET MUSIC (1794) AND THE BASS CLARINETS BY HEINRICH AND AUGUST GRENSER by Albert R. Rice For many years the bass clarinets by Heinrich Grenser and August Grenser made in 1793 and 1795 have been known. What has been overlooked is Patrik Vretblad’s list of a concert including the bass clarinet performed in 1794 by the Swedish clarinetist Johann Ignaz Strenensky.1 This is important news since it is the earliest documented bass clarinet music. All other textbooks and studies concerning the bass clarinet fail to mention this music played in Sweden. Although it is not definitely known what type of bass clarinet was played, evidence suggests that it was a bassoon-shaped bass clarinet by Heinrich Grenser. This article discusses the Stockholm court’s early employment of full time clarinetists; its players and music, including the bass clarinet works; the bass clarinets by Heinrich and August Grenser; and conclusions. Stockholm Court Orchestra Stockholm’s theater court orchestra employed seven clarinetists during the eighteenth century, including the famous composer and clarinetist Bernhard Henrik Crusell: Christian Traugott Schlick 1779-1786 August Heinrich Davidssohn 1779-1799 Georg Christian Thielemann 1785-1812 Carl Sigimund Gelhaar 1785-1793 Johann Ignaz Stranensky 1789-18052 Bernhard Henrik Crusell 1793-1834 Johan Christian Schatt 1798-18183 In 1779, Schlick and Davidssohn appeared as extra players at the Stockholm theater in a concert of the music academy. -
Alto Clarinet: the Endangered Species of the American Band Mark Wolbers, University of Alaska Anchorage CBDNA 2011 National Conference
Alto Clarinet: The Endangered Species of the American Band Mark Wolbers, University of Alaska Anchorage CBDNA 2011 National Conference Introduction In regards to jokes, the alto clarinet of the band is the viola equivalent of the orchestra. Both instruments will get you handicapped parking if you put the case on the dash of your car. However, unlike the viola in the orchestra, American music educators have done their best to get the alto clarinet removed from the wind band. In this regard, they have been quite successful. In the United States, music publishers of new band works do not include parts for alto clarinet and no longer consider the instrument a part of the standard band instrumentation. American composers, also sensing their market, no longer write parts for the instrument. This of course, has had ramifications beyond publishing. Instrument manufacturers, seeing a decline in the American school band market for alto clarinets have scaled back research and development. Yamaha hasn’t revised or improved their alto clarinet design since 1988. Selmer’s design has also not fundamentally changed since the 80s. Because demand for bassethorns is the majority of the new instrument market in this range of clarinet, they seem to be a bit more up to date design-wise. In this regard, the bassethorns are perhaps a technically better instrument than the alto clarinets in this study. Bassethorns, however, are not a perfect solution either since they require the player to transpose when reading an alto clarinet part. If a band director programs a work written prior to 1980, chances are good that they may have to deal with an alto clarinet part. -
(Eg Phd, Mphil, Dclinpsychol) at Th
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Theodor Lotz A Biographical and Organological Study Melanie Piddocke PhD The University of Edinburgh 2011 DECLARATION I hereby declare that this work is original and has not been previously submitted in whole or part by me or any other person for any qualification or award. I further certify that due acknowledgement is given to the sources of information and ideas derived from the original scholarship of others, and that to the best of my ability all scholarly conventions and proprieties have been observed in the use, citation and documentation of these sources. (Signed) (Date) 26/06/2012 Abstract This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. -
Dayton C. Miller Flute Collection
Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction ......................................................................................................................................................... iii Biographical Sketch.............................................................................................................................................. vi Scope and Content Note..................................................................................................................................... viii Description of Series............................................................................................................................................. xi Container List ........................................................................................................................................................ 1 FLUTES OF DAYTON C. MILLER............................................................................................................... 1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright -
An Overview of the Historical Development of the Bassoon
An overview of the historical development of the bassoon Part 1 in the series “A Bundle of Joy, handbook for the bassoon” by Maarten Vonk An e-book as a free gift on occasion to the outcome of the new website FagotAtelier Maarten Vonk The premier bassoon workshop in the Netherlands for more than 30 years, where bassoonists from all over the world feel at home. This is a free e-book and cannot be sold. But you can give it away as may times you like to other bassoon players! FagotAtelier Maarten Vonk, historical development of the bassoon 2013 An overview of the historical development of the bassoon Musicians have been travelers for centuries, a privilege they shared – often through necessity – with noblemen, peddlers, soldiers and pilgrims. They played in groups attached to bishoprics, courts of the nobility, towns, army battalions or theatrical companies for as long as the boss would pay them, and if a band or orchestra was reduced in ranks or done away with altogether, they would take themselves off to pastures new to show off their artistry. Wind players and percussionists, with their loud and portable instruments, often played in the open air at processions, celebrations or pitched battles. Double reed instruments were already being used on such occasions in classical antiquity, and the middle ages saw the development of instruments like the crumhorn, shawm, korholt and bombard, the last of which played in the bass register. In the Renaissance period, polyphonic music was played on instruments from the same family and a quartet of crumhorns or viols was then described as a consort. -
A Bassoon by Hirschstein: the Instrument and Its Possible Use in the Military
DAVID RACHOR A Bassoon by Hirschstein: The Instrument and Its Possible Use in the Military Not a great deal is known about Mathaus purchased on eBay.1 Through a bit of detective Hirschstein (cl695-1760),3 although there is I recently work, I have discovered acquired that the a'maker's bassoon mark' in Belgium that I some documentary evidence that links him with on the instrument is that of Mathaus Hirschstein, important woodwind makers active in Leipzig a music dealer active in Leipzig during the second during the first half of the eighteenth century. third of the eighteenth century. The stamp is faint For example, Hirschstein was requested to stand but legible, and after looking at other Hirschstein as godfather in 1726 to one of the children of instruments with similar stamps I am convinced Johann Heinrich Eichentopf.4 In 1744, Hirschstein that it is a Hirschstein bassoon. Since this is the was established as a musical instrument dealer in only bassoon known today with a Hirschstein Leipzig: using surviving instruments as a guide, he mark, and there are so few other extant Hirschstein was most likely in the business of primarily selling instruments,2 this bassoon is very important. woodwind As instruments. However, Paul de Wit refers Hirschstein was a dealer rather than an instrument to Hirschstein in his Geigenzettel alter Meister manufacturer a possible maker of the instrument vom 16. bis zur Mitte des 19. Jahrhunderts so it is will be explored in this article. The question of possible a that he also had some dealings in stringed possible military use for the bassoon will also beinstruments.5 Hirschstein appears to have had great considered.