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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Biographical Dictionary of Twentieth- Century American Clarinetists Tracey Lynn Paddock Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A BIOGRAPHICAL DICTIONARY OF TWENTIETH-CENTURY AMERICAN CLARINETISTS By TRACEY LYNN PADDOCK A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the Treatise of Tracey L. Paddock defended on March 28, 2011. _________________________________ Frank Kowalsky Professor Directing Treatise _________________________________ Richard Clary University Representative _________________________________ Deborah Bish Committee Member _________________________________ Jeff Keesecker Committee Member The Graduate School has verified and approved the above-named committee members. ii To my husband Grant, who has stood by my side in the face of this and many other challenges, and to my parents, teachers, and friends, who have supported me generously and tirelessly. iii ACKNOWLEDGEMENTS I would like to acknowledge all of the teachers and mentors who have helped me on my musical, educational, and life path. To James Campbell, thank you for providing me with a strong musical foundation, and musical and philosophical inspiration which will last a lifetime, and which I try to pass on to my own students. To former committee member Eric Ohlsson, thank you for setting the comprehensive exam question that led me to this treatise. To former committee member John Deal, thank you for urging me to make the treatise “comprehensive.” To Howard Klug, thank you for your invaluable guidance at the onset of this journey. Thank you also to former committee member James Croft for your role in the early stages of my research. Special thanks to Frank Kowalsky who, in addition to his wonderful musical guidance and wisdom, has been patient and endlessly supportive in helping me to finish this massive (but fascinating) undertaking. My profound gratitude goes out to all of the clarinetists who completed and returned my survey, making this document that much more valuable by providing future generations of clarinetists with your own words. I must express my appreciation to the librarians in the music section at the Library of Congress for delivering hundreds of pounds of books to me via their mysterious elevator, and for allowing me access to the back room to dig through stacks of orchestra programs which were not even logged into the library catalog at the time. Thanks also to the proprietors of the countless Washington D.C.-area coffee establishments in which I set up shop for hours at a time, on a daily basis, over the years. Thank you to fellow Florida State University Doctor of Music recipients John Mula, Elizabeth Gunlogson, Charles Willett, and Dannene Drummond for your support and guidance throughout this process, and to Drs. Elizabeth Matera and Susan Rider. To my committee members Deborah Bish, Richard Clary, and Jeff Keesecker, thank you for your guidance and flexibility. To my mom and dad, thanks for a lifetime of love and support, and for always having faith in me. Lastly, to my husband, there are no words adequate to express the depth of my thanks for supporting me in this endeavor. iv TABLE OF CONTENTS List of Tables ................................................................................................................................. vi Abstract......................................................................................................................................... vii INTRODUCTION ...........................................................................................................................1 A. Format of Biographical Sketches ......................................................................................4 B. Table of Abbreviations ......................................................................................................5 BIOGRAPHICAL DICTIONARY..................................................................................................8 CONCLUSION............................................................................................................................371 APPENDIX A: HUMAN SUBJECTS APPROVAL MEMORANDUM ...................................373 APPENDIX B: EXAMPLE OF SURVEY SENT TO SELECTED ENTRANTS......................374 SELECTED BIBLIOGRAPHY...................................................................................................376 BIOGRAPHICAL SKETCH .......................................................................................................379 v LIST OF TABLES A. Format of Biographical Sketches...............................................................................................4 B. Table of Abbreviations...............................................................................................................5 vi ABSTRACT A Biographical Dictionary of Twentieth-Century American Clarinetists is designed as a resource to provide information on the lives and careers of American clarinetists and pedagogues of note, active primarily between the years 1900 and 2000. In the case of this dictionary, the term “American” refers not only to those born in the United States, but also to select foreign-born clarinetists who either immigrated to the United States and spent a significant portion of their career in America, and/or who made such a profound impact on the American clarinet tradition that they have been essentially “adopted” as American clarinetists. The focus of the dictionary is on classical clarinetists, but some entrants have been active in classical performance as well as “non-classical” styles of performance, such as jazz and Klezmer. Included in the dictionary are clarinetists who perform or have performed in A- or AA-rated orchestras (as rated and listed in Musical America: International Directory of the Performing Arts, 1998 edition), and/or teach or have taught at college-level music schools with 20 or more full-time music faculty (as listed in the CMS Directory of Music Faculties in Colleges and Universities, United States and Canada, examined between 1968-1998). Also included are clarinetists who may not appear in either of the above resources, but who have established themselves as American clarinetists of note through their careers as prominent soloists, chamber musicians, recording artists, etc. Through the entries themselves, the reader will find a snapshot of American clarinetistry during the confines of the twentieth century. By studying an entrant’s teacher(s), often cross-referenced within the dictionary, a clarinetist examining the document can gather information not only on that entrant’s clarinet ancestry, but by extension, their own clarinet lineage as well. A study of each entrant’s list of students provides a window into the future of the American clarinet tradition. Lastly, the bibliography at the end of most entries will provide direction to those wishing to learn more about an entrant. vii INTRODUCTION The impetus for “A Biographical Dictionary of Twentieth-Century American Clarinetists” was a comprehensive examination question which required the author to write about the American clarinet tradition. At the time of the examination, in the early days of the World Wide Web, as it was then more commonly known, information on prominent American clarinetists was not as readily at one’s fingertips as it is now. Even today, culling this information from online searches would take a great deal of time and effort, and one would have to question the accuracy of some of what was found. Researching the examination topic, at that time, required poring over volumes of The Clarinet and ClariNetwork journals, consulting Pamela Weston’s invaluable Clarinet Virtuosi books, scanning the more primitive version of the internet, and cobbling all of this information together, along with information for four additional research papers to be completed in just five days. Not yet available was Carol Anne Kycia’s now-published dissertation, Daniel Bonade: A Founder of the American Style of Clarinet Playing, nor had the excellent doctoral treatises of Elizabeth Gunlogson (“Stanley Hasty: His Life and Teaching”) or Shannon Thompson (“A History and Analysis of the Philadelphia School of Clarinet Playing”) been written. Undoubtedly, these three authors, and others who have since written on this topic, also noticed the profound gap in current research focusing on the subject of the American clarinet tradition. The original intent of this biographical dictionary was to provide a discussion of the American clarinet tradition during the twentieth century as a prelude to the biographical entries, which were to be gathered from all volumes of The Clarinet and ClariNetwork journals. One committee member suggested that the author not limit herself to these two resources, but to cast the net wider, and make the document a true and inclusive dictionary, not merely a survey of prominent American clarinetists found in these two journals. Given this worthy recommendation, which vastly expanded the scope of the project, and the recent, high-quality publications concerning major elements of the American clarinet tradition of the twentieth century listed above, this document

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