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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. -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
The Classical Period (1720-1815), Music: 5635.793
DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE -
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. -
Kolodochka BOOKLET CD1
Ignaz Joseph Pleyel (1757–1831) Sinfonie Concertante in F-Dur, Ben 113 (1792), Ersteinspielung 1 Allegro 12:58 2 Adagio espressivo 3:40 3 Thema (Andante grazioso) con Variationi. Presto 6:50 Johann Baptist Wanhal (1739–1813) Sinfonie in C-Dur (Bryan C17) 4 Allegro 5:34 5 Andante 4:55 6 Menuet (Menuetto ma Allegretto) 1:36 7 Allegro molto 2:44 100. Konzert der IPG am 11.11.2007 Ignaz Joseph Pleyel (1757–1831) Sinfonie in a-Moll/A-Dur, Ben 155, 1792?, Ersteinspielung 8 Adagio. Allegro con spirito 9:45 9 Adagio 5:13 Pleyel und sein erster Lehrer 10 Rondo. Grazioso 5:15 Philharmonie Györ Dirigat: Paul Weigold gesamt 59:02 2 3 Ignaz Joseph Pleyel (1757–1831) Ignaz Joseph Pleyel was a highly talented composer of the second half of the (1757–1831) 18th century and beginning of the 19th. Around 1800, Pleyel was one of the Ignaz Joseph Pleyel most popular and widely played composers from St Petersburg to Boston. Ignaz Joseph Pleyel war ein hochtalentierter Komponist der zweiten Hälfte des 18. und des ange - Ignatius Josephus Pleyl, to give his official name, was born on the 18th of June henden 19. Jahrhunderts. Um das Jahr 1800 zählte 1757 in the small wine village of Ruppersthal (Lower Austria), as the son of the Pleyel zu den populärsten und meist gespielten village schoolmaster Martin Pleyl and his wife Anna Theresia, in humble circum - Komponisten zwischen St. Petersburg und Boston. stances. His musical talent was discovered early on. With the help of his patron Count Ladislaus Erdödy, Ignaz Joseph Pleyel received his first education from the Ignatius Josephus Pleyl, so sein bürgerlicher Name, wurde am 18. -
The String Quartet from 1750 to 1870: from the Private to the Public Sphere
INTERNATIONAL CONFERENCE THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto PROGRAMME ORGANIZED BY CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE International Conference 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane - Centre de musique romantique française, Venice In association with Italian National Edition of Luigi Boccherini’s Complete Works Ad Parnassum Journal ef SCIENTIFIC COMMITEE Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) Étienne Jardin (Palazzetto Bru Zane - Centre de musique romantique française) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini) Luca Lévi Sala (Université de Poitiers) Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini) Christian Speck (Universität Koblenz-Landau) ef KEYNOTE SPEAKERS Cliff Eisen (King’s College, London) Christian Speck (Universität Koblenz-Landau) FRIDAY 29 NOVEMBER 9.00-10.00: Welcome and Registration 10.00-10.30: Opening • MASSIMILIANO SALA (President Centro Studi Opera Omnia Luigi Boccherini) • ÉTIENNE JARDIN (Scientific Coordinator Palazzetto Bru Zane) • CHRIstIAN SPECK (President Italian National Edition of Boccherini’s Complete Works) Room 1 – Beethoven and the String Quartet (Chair: Rohan H. Stewart-MacDonald, Cheltenham, UK) 10.30-12.30 • Nancy -
Performing History
Performing History Joint New Zealand Musicological Society/ 40th Musicological Society of Australia Conference 8 – 10 December 2017 Acknowledgements Contents The Musicological Society of Australia and New Zealand Musicological Society are grateful to the German Presidents’ Welcome 1 Academic Exchange Service (DAAD) for supporting the visit of Prof. Friederike Wißmann, and the Music & Letters Trust for supporting the visits of Prof. John Rink and Prof. Mary Hunter. Programme 2 Keynote Speakers 12 Conference Speakers: Abstracts 15 Concert Programmes 67 Thanks to Dr. Hirini Kaa (Ngāti Porou, Ngāti Kahungunu, Rongowhakaata), kāiarahi for the Arts faculty, for performing the mihi whakatau to welcome us to the University. Maps and Directions 72 General Information 75 Programme Committee Allan Badley (University of Auckland) Stephanie Rocke (University of Melbourne) Waiata Nick Braae (Waikato Institue of Technology) W. Dean Sutcliffe (University of Auckland) Gregory Camp (University of Auckland) Francis Yapp (University of Canterbury) TORO MAI TŌ RINGA Nancy November (University of Auckland) Toro mai tō ringa Reach out your hand Kia harirūtia And clasp mine Tō ringa i awhi pono In truth and I awhi taku tinana Friendship Auē, auē te aroha Oh, the love Ki a rātou mā For those who’ve gone Presidents’ Welcome Auē, auē te aroha Oh, the compassion Ngau whakaroto nei That bites deep within me On behalf of the New Zealand Musicological Society A very warm welcome from the MSA to the joint I would like to welcome you to the 2017 joint NZSM / 40th MSA -
School of Music
ALEX TOENNIGES Bassoon Ka Hou Chan, piano Peter Whitehead, bassoon Senior Bassoon Recital Katzin Concert Hall 6 Aprii 2014 • 7:30 pm ARIZONA STATE UNIVERSITY School of Music Concerto per fagotto e orchestra (1977) Giovanni "Nino" Rota Nino Rota was a 20th century Italian composer, best known for his film scores, such as that for The Godfather and many Federico Fellini films. His Concerto for bassoon and orchestra in B-ffat major was written two years before his death. It began as a single movement Toccata for bassoon and orchestra in 1974, and the score for the full concerto was completed in 1977. This movement is a theme (Andantino) and variations, all of which are in the style of classical or older dance Concerto per fagotto e orchestra (1977) Nino Rota forms (Waltz, Polka, Siciliana, Sarabando, and Ga/op). Rota's dramatic sense, Ill. Andantino -Variations (1911-1979) influenced by his film music, is heard as the movement progresses through increasingly excited and distant variations. Waltz - Polka - Siciliana - Sarabanda - Ga lop (http://hdl.handle.net/2286/R.A.97678) Sonata for Bassoon and Piano (2004) David Maslanka David Maslanka is a contemporary American composer, who is one of the most Sonata for Bassoon and Piano (2004) David Maslanka important composers of music for winds. He is known for the extreme demands that his music puts on its performers, both technically and expressively. He lives I. Moderate (b. 1943) in Missoula, Montana, where he works as a freelance composer. Maslanka uses a II. Moderate full range of sonorities, tone colors, and dynamics to create pieces that are intensely expressive and profound. -
University of Oklahoma Graduate College Pianistic Analysis of Bedřich Smetana's Piano Cycle Dreams, Six Characteristic Pieces
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PIANISTIC ANALYSIS OF BEDŘICH SMETANA’S PIANO CYCLE DREAMS, SIX CHARACTERISTIC PIECES FOR PIANO A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By KRISTINA HENCKEL Norman, Oklahoma 2016 PIANISTIC ANALYSIS OF BEDŘICH SMETANA’S PIANO CYCLE DREAMS, SIX CHARACTERISTIC PIECES FOR PIANO A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Marvin Lamb ______________________________ Dr. Michael Lee ______________________________ Dr. Joseph Havlicek © Copyright by KRISTINA HENCKEL 2016 All Rights Reserved. ACKNOWLEDGMENTS My many thanks go out to every member (past and present) who served on my doctoral committee: The chair Dr. Jane Magrath, Dr. Michael Lee, Dr. Marvin Lamb, Dr. Barbara Fast, Dr. Joseph Havlicek, Dr. Jeongwon Ham, and Dr. Stephen Beus. Your guidance and commitment were absolutely vital for my growth as a writer of this document. A special thanks goes to Dr. Magrath who guided me through the most challenging part of my degree, this document, and who supported my desire to showcase the value and beauty of the piano works of Smetana and the contributions of other Czech composers and scholars. I am absolutely certain that it is only through the dedication and tireless work of my editor, Mark Worcester, that I have been able to complete a document of such depth and scope. He went beyond proofing my writing and made me feel like I had a collaborator and partner in this process. Enormous thanks go to my mom Krista Pelechová, my husband Terrel, and my children, Elishka and Maksim, for their tireless support, patience and love. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 The Influences of Mannheim Style in W.A. Mozart's Concerto for Oboe, K. 314 (285D) and Jacques-Christian-Michel Widerkehr's Duo Sonata for Oboe and Piano Scott D. Erickson Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE INFLUENCES OF MANNHEIM STYLE IN W.A. MOZART’S CONCERTO FOR OBOE, K. 314 (285D) AND JACQUES-CHRISTIAN-MICHEL WIDERKEHR’S DUO SONATA FOR OBOE AND PIANO By SCOTT D. ERICKSON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2018 Scott Erickson defended this treatise on March 5, 2018. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffery Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am forever grateful to everyone who has helped me along this journey. I am particularly indebted to Dr. Eric Ohlsson, whose passion for teaching and performing has changed the course of my life and career. I am thankful for the immeasurable academic guidance and musical instruction I have received from my supervisory committee: Dr. Deborah Bish, Professor Jeffrey Keesecker, and Professor Richard Clary. Finally, I would never have fulfilled this dream without the constant support and encouragement from my wonderful family. -
The Story of the Symphony, Part 2: Beethoven and His Legacy
KS4/5KS5 The story of the symphony, part 2: Beethoven and his legacy Jonathan James by Jonathan James is a freelance music educator and conductor who presents and leads workshops for orchestras and INTRODUCTION venues across the UK. In the second of this three-part resource (for part one, see Music Teacher, February 2019), we will be joining the story of the symphony at its heyday in the 19th century, where the form expanded and evolved at dizzying speed. By the end of the century, symphony orchestras were up to ten times the size of their 18th-century predecessors, playing works of double the length to much larger, more discerning audiences. As before, the aim of this resource is to use the story of the symphony to give a context for analysing instrumental writing in the wider listening questions at GCSE and beyond. It gives a historical framework for set works and outlines the creative principles of key composers, questioning the choices they made as they crafted their symphonies and, in so doing, giving inspiration for the students’ own compositional thinking. The resources should broaden the vocabulary and analytical thinking required for the higher-scoring evaluative answers in the listening papers in Key Stages 4 and 5. A Spotify playlist accompanies each resource, to use for musical illustrations and listening exercises. This second part takes us from the symphonic revolutions of Beethoven in the early 1800s through the diverse response to that impressive legacy by some of the main symphonists of the Romantic era, including Berlioz, Brahms, Tchaikovsky and Dvorˇák. -
A History of the Clarinet and Its Music from 1600 to 1800
A HISTORY OF THE CLARINET AND ITS MUSIC FROM 1600 TO 1800 APPROVED: Major Professor Minor Professor Dea of the School of Music Dean of the Graduate School A-07 IV04240A-Icr A HISTORY OF THE CLARINET AND ITS MUSIC FROM 1600 to 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Ramon J. Kireilis Denton, Texas August, 1964 PREFACE It is the purpose of this thesis to present a study of music written for the clarinet during the period from 1600 to 1800. The first part is a history of the clarinet showing the stages of development of the instrument from its early predecessors to its present form, Part one also explains the acoustics of the clarinet and its actual invention. The second part deals with composers and their music for the clarinet. No attempt is made to include all music written for the instrument during the prescribed period; rather# the writerss intention is to include chiefly those works by composers whose music has proven to be outstanding in clarinet literature or interesting historically. The order in which the works themselves are taken up is chronological# by composers# with comment on their styles as to form, harmonic content, melodic content# rhythmic content, problems in phrasing, or any other general technical problem. All of these elements are illustrated with examples taken from the music, iii TABLE OF CONTENTS Page LIST OFILLUSTRATIONS.*.......................... V Chapter I. HISTORY OF THE CLARINET..... ..... 1 Acoustics Instruments Before the Chalumeau The Chalumeau Johann Christoph Denner and His Clarinet II.