Sidney Bechet Clarinet Works of Repertoire for Interview with Forgotten Pedagogical Also in This Issue
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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. -
Performance Editions of Three Works for Winds by Gyorgy Druschetzky
PERFORMANCE EDITIONS OF THREE WORKS FOR WINDS BY GYORGY DRUSCHETZKY Brandon K. McDannald, B.M.E., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: William Scharnberg, Major Professor Peter Mondelli, Committee Member Kathleen Reynolds, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School McDannald, Brandon K. Performance Editions of Three Works for Winds by Gyorgy Druschetzky. Doctor of Musical Arts (Performance), August 2018, 266 pp., 3 appendices, references, 23 titles. Gyorgy Druschetzky was a noted Czech composer of Harmoniemusik, who wrote more than 150 partitas and serenades, along with at least thirty-two other selections for larger wind groups. This is in addition to twenty-seven symphonies, eleven concertos (most for wind instruments), two fantasias, forty-seven string quartets, two operas, a ballet that is lost, and other miscellaneous chamber music for various combinations of wind/string instruments. Three of his works for winds have existed only in manuscript form since their composition: Concerto in E-flat pour 2 clarinett en B, 2 cors en E-flat, 2 fagott; Overture to Mozart’s Die Zauberflöte; and Partitta a la camera a corno di bassetto primo, secondo, terzo, due corno di caccia, due fagotti. These works remain remarkably interesting to modern ears and deserve to be heard in the twenty-first century. Along with a brief examination of Druschetzky’s life and how it figures into the history of Harmoniemusik, this work presents each piece edited into a modern performance edition. -
ED024693.Pdf
DO CUMEN T R UM? ED 024 693 24 TE 001 061 By-Bogard. Travis. Ed. International Conference on Theatre Education and Development: A Report on the Conference Sponsored by AETA (State Department. Washington. D.C.. June 14-18. 1967). Spons Agency- American Educational Theatre Association. Washington. D.C.;Office of Education (DHEW). Washington. D.C. Bureau of Research. Bureau No- BR- 7-0783 Pub Date Aug 68 Grant- OEG- 1- 7-070783-1713 Note- I28p. Available from- AETA Executive Office. John F. Kennedy Center for the Performing Arts. 726 Jackson Place. N.V. Washington. D.C. (HC-$2.00). Journal Cit- Educational Theatre Journal; v20 n2A Aug 1968 Special Issue EDRS Price MF-$0.75 HC Not Available from EDRS. Descriptors-Acoustical Environment. Acting. Audiences. Auditoriums. Creative Dramatics. Drama. Dramatic Play. Dramatics. Education. Facilities. Fine Arts. Playwriting, Production Techniques. Speech. Speech Education. Theater Arts. Theaters The conference reported here was attended by educators and theater professionals from 24 countries, grouped into five discussion sections. Summaries of the proceedings of the discussion groups. each followed by postscripts by individual participants who wished to amplify portions of the summary. are presented. The discussion groups and the editors of their discussions are:"Training Theatre Personnel,Ralph Allen;"Theatre and Its Developing Audience," Francis Hodge; "Developing and Improving Artistic Leadership." Brooks McNamara; "Theatre in the Education Process." 0. G. Brockett; and "Improving Design for the Technical Function. Scenography. Structure and Function," Richard Schechner. A final section, "Soliloquies and Passages-at-Arms." containsselectedtranscriptions from audio tapes of portions of the conference. (JS) Educational Theatrejourna 1. -
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. -
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. -
Sources and Resources/ Fuentes Y Recursos
ST. FRANCIS AND THE AMERICAS/ SAN FRANCISCO Y LAS AMÉRICAS: Sources and Resources/ Fuentes y Recursos Compiled by Gary Francisco Keller 1 Table of Contents Sources and Resources/Fuentes y Recursos .................................................. 6 CONTROLLABLE PRIMARY DIGITAL RESOURCES 6 Multimedia Compilation of Digital and Traditional Resources ........................ 11 PRIMARY RESOURCES 11 Multimedia Digital Resources ..................................................................... 13 AGGREGATORS OF CONTROLLABLE DIGITAL RESOURCES 13 ARCHIVES WORLDWIDE 13 Controllable Primary Digital Resources 15 European 15 Mexicano (Nahuatl) Related 16 Codices 16 Devotional Materials 20 Legal Documents 20 Maps 21 Various 22 Maya Related 22 Codices 22 Miscellanies 23 Mixtec Related 23 Otomi Related 24 Zapotec Related 24 Other Mesoamerican 24 Latin American, Colonial (EUROPEAN LANGUAGES) 25 PRIMARY RESOURCES IN PRINTED FORM 25 European 25 Colonial Latin American (GENERAL) 26 Codices 26 2 Historical Documents 26 Various 37 Mexicano (Nahautl) Related 38 Codices 38 Lienzo de Tlaxcala 44 Other Lienzos, Mapas, Tiras and Related 45 Linguistic Works 46 Literary Documents 46 Maps 47 Maya Related 48 Mixtec Related 56 Otomí Related 58 (SPREAD OUT NORTH OF MEXICO CITY, ALSO HIDALGO CLOSELY ASSOCIATED WITH THE OTOMÍ) Tarasco Related 59 (CLOSELY ASSOCIATED WITH MICHOACÁN. CAPITAL: TZINTZUNRZAN, LANGUAGE: PURÉPECHA) Zapotec Related 61 Other Mesoamerican 61 Latin American, Colonial (EUROPEAN LANGUAGES) 61 FRANCISCAN AND GENERAL CHRISTIAN DISCOURSE IN NATIVE -
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. -
Juilliard String Quartet Areta Zhulla and Ronald Copes, Violins Roger Tapping, Viola Astrid Schween, Cello
Thursday Evening, December 12, 2019, at 7:30 The Juilliard School presents Juilliard String Quartet Areta Zhulla and Ronald Copes, Violins Roger Tapping, Viola Astrid Schween, Cello LUDWIG VAN BEETHOVEN (1770–1827) String Quartet No. 1 in F major, Op. 18, No. 1 Allegro con brio Adagio affettuoso ed appassionato Scherzo: Allegro molto Allegro GYÖRGY KURTÁG (b. 1926) 6 Moments musicaux, Op. 44 Invocatio (Un fragment) Footfalls (… as if someone were coming) Capriccio In memoriam Sebok˝ György Rappel des oiseaux ... (Étude pour les harmoniques) Les adieux (in Janáceks˘ Manier) Intermission BEETHOVEN Quartet No. 14 in C-sharp minor, Op. 131 Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato—Adagio Andante, ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro Performance time: approximately 1 hour and 45 minutes, including an intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program published, in 1801. The D-major quartet (Op. 18, No. 3) was the first to be written; the By James M. Keller F-major (No. 1) and G-major (No. 2) followed, probably in that order; and the A major String Quartet No. 1 in F major, Op. 18, (No. 5), C minor (No. -
Download the Clarinet Saxophone Classics Catalogue
CATALOGUE 2017 www.samekmusic.com Founded in 1992 by acclaimed clarinetist Victoria Soames Samek, Clarinet & Saxophone Classics celebrates the single reed in all its richness and diversity. It’s a unique specialist label devoted to releasing top quality recordings by the finest artists of today on modern and period instruments, as well as sympathetically restored historical recordings of great figures from the past supported by informative notes. Having created her own brand, Samek Music, Victoria is committed to excellence through recordings, publications, learning resources and live performances. Samek Music is dedicated to the clarinet and saxophone, giving a focus for the wonderful world of the single reed. www.samek music.com For further details contact Victoria Soames Samek, Managing Director and Artistic Director Tel: + 44 (0) 20 8472 2057 • Mobile + 44 (0) 7730 987103 • [email protected] • www.samekmusic.com Central Clarinet Repertoire 1 CC0001 COPLAND: SONATA FOR CLARINET Clarinet Music by Les Six PREMIERE RECORDING Featuring the World Premiere recording of Copland’s own reworking of his Violin Sonata, this exciting disc also has the complete music for clarinet and piano of the French group known as ‘Les Six’. Aaron Copland Sonata (premiere recording); Francis Poulenc Sonata; Germaine Tailleferre Arabesque, Sonata; Arthur Honegger Sonatine; Darius Milhaud Duo Concertant, Sonatine Victoria Soames Samek clarinet, Julius Drake piano ‘Most sheerly seductive record of the year.’ THE SUNDAY TIMES CC0011 SOLOS DE CONCOURS Brought together for the first time on CD – a fascinating collection of pieces written for the final year students studying at the paris conservatoire for the Premier Prix, by some of the most prominent French composers. -
A Chinese Clarinet Legend Also in This Issue
Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017.