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A Concept-Based Pedagogy Approach to Selected Unaccompanied

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A Concept-Based Pedagogy Approach to Selected Unaccompanied A CONCEPT -BASED PEDAGOGY APPROACH TO SELECTED UNACCOMPANIED CLARINET REPERTOIRE Vanessa A. Davis Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Donna Emmanuel, Committee Member Daryl Coad, 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 Davis, Vanessa A. A Concept-Based Pedagogy Approach to Selected Unaccompanied Clarinet Repertoire. Doctor of Musical Arts (Performance), August 2018, 78 pp., 17 figures, 14 exercises, bibliography, 91 titles. While unaccompanied music encompasses an ever increasing portion of clarinet literature, it comprises a comparatively small percentage of music performed. However, study of unaccompanied repertoire provides a valuable pedagogical bridge between etudes and accompanied music that is abundant with opportunity to address larger universal musical concepts, rather than repertoire-specific solutions. This dissertation demonstrates the application of concept-based pedagogy to selected unaccompanied clarinet repertoire of five different ability levels. Using principals of concept-based pedagogy, each work is broken down to its component technical and expressive parts in order to address larger musical concepts. Three to five exercises addressing each work's technical and expressive challenges are provided and explained. Copyright 2018 by Vanessa A. Davis ii ACKNOWLEDGEMENTS There are many to whom I am grateful. First, I would like to thank my wonderful committee, Dr. Kimberly Cole Luevano, Dr. Donna Emmanuel, and Professor Daryl Coad for their time and willingness to serve on my committee, work with me, and require my best work. I would also like to extend my heartfelt thanks to my Wind Studies Teaching Fellowship Advisor, Professor Eugene Migliaro Corporon for many discussions about teaching and learning throughout the year. My deepest gratitude extends also to my doctoral colleagues Dr. Jackie Townsend and Lucas Willsie, with whom I had many compelling conversations about teaching and learning. Most sincere and whole-hearted thanks to my mentor, Richard MacDowell, without whose patience, support, and pure kindness I would not have been able to attend UNT. I would like to thank my partner Kyle McKay, for his unending patience, kindness, and love throughout this entire process. Finally, I would like to thank my grandparents, Ruth Corsetti and Norman Czyzewski, for their continuous love and encouragement always. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................................................................................................................... iii LIST OF FIGURES .............................................................................................................................. vi LIST OF EXERCISES .......................................................................................................................... vii CHAPTER 1. INTRODUCTION ........................................................................................................... 1 1.1 Background ............................................................................................................. 1 1.2 Purpose and Method .............................................................................................. 2 1.3 Scope ....................................................................................................................... 3 CHAPTER 2. REVIEW OF LITERATURE .............................................................................................. 5 2.1 Unaccompanied Clarinet Repertoire ...................................................................... 5 2.2 Concept-Based Pedagogy ....................................................................................... 6 2.3 Comprehensive Musicianship Through Performance ............................................ 9 CHAPTER 3. UNACCOMPANIED CLARINET REPERTOIRE ............................................................... 13 CHAPTER 4. APPLICATION OF CONCEPT-BASED PEDAGOGY ........................................................ 16 CHAPTER 5. MIDDLE SCHOOL: ELEGY FOR SOLO CLARINET BY ELLIOT DEL BORGO .................... 24 5.1 Composer Background .......................................................................................... 24 5.2 Challenges ............................................................................................................. 25 5.2.1 Tone: Large Leap Precision ....................................................................... 25 5.2.2 Technique: Note-Grouping ....................................................................... 26 5.2.3 Rhythm: Duple and Triple Subdivision ...................................................... 28 5.2.4 Phrasing: Using the Air .............................................................................. 29 CHAPTER 6. FIRST AND SECOND YEAR HIGH SCHOOL: THERE IS A BLUER SKY, A WALL WITH ROSES… (2008) BY SVEN-DAVID SANDSTRÖM.............................................................................. 32 6.1 Composer Background .......................................................................................... 32 6.2 Challenges ............................................................................................................. 33 6.2.1 Tone: Altissimo Register ........................................................................... 33 6.2.2 Technique: Key Grouping .......................................................................... 35 iv 6.2.3 Rhythm: Rhythmic Chanting ..................................................................... 37 6.2.4 Phrasing: Dynamic Mapping ..................................................................... 38 CHAPTER 7. THIRD AND FOURTH YEAR HIGH SCHOOL: RHAPSODIE POUR CLARINETTE SEULE (1979) BY GIACOMO MILUCCIO (1928-1999) ............................................................................... 41 7.1 Composer Background .......................................................................................... 41 7.2 Challenges ............................................................................................................. 42 7.2.1 Tone: Registral Consistency ...................................................................... 42 7.2.2 Technique: Pattern Practice...................................................................... 45 7.2.3 Rhythm: Syllabic Chanting and Lyric Writing ............................................ 47 7.2.4 Phrasing: Phrase Intensity Identification .................................................. 49 CHAPTER 8. FIRST AND SECOND YEAR UNDERGRADUATE: THREE PIECES FOR CLARINET ALONE OP. 78 BY JAMES COHN ................................................................................................................ 51 8.1 Composer Background .......................................................................................... 51 8.2 Challenges ............................................................................................................. 52 8.2.1 Tone: Timbral Variations ........................................................................... 52 8.2.2 Technique: Grouping Notes Gesturally ..................................................... 53 8.2.3 Rhythm: Beat Placement .......................................................................... 55 8.2.4 Phrasing: Style ........................................................................................... 56 CHAPTER 9. THIRD AND FOURTH YEAR UNDERGRADUATE: ZANELLE (2009) BY VIET CUONG (B. 1990) ............................................................................................................................................. 59 9.1 Composer Background .......................................................................................... 59 9.2 Challenges ............................................................................................................. 60 9.2.1 Tone: Consistent Voicing Over Large Leaps .............................................. 60 9.2.2 Technique: Developing a Healthy Staccato in Large Leaps ...................... 63 9.2.3 Rhythm and Phrasing: Developing a Process to Learn, Practice, and Make Musical Decisions ...................................................................................... 66 CHAPTER 10. CONCUSION AND FURTHER RESEARCH .................................................................. 69 10.1 Conclusion ............................................................................................................. 69 10.2 Further Research ................................................................................................... 71 BIBLIOGRAPHY .............................................................................................................................. 72 v LIST OF FIGURES Page FIGURE 5-1: Del Borgo, Elegy measures 1 and 2 .......................................................................... 25 FIGURE 5-2: Passagework example from Elegy for Solo Clarinet m. 1 - 12 .................................. 26 FIGURE 5-3: Duple and triple subdivision in Del Borgo m. 18-19 ................................................. 28 FIGURE 5-4: Opening phrase of Elegy for Solo Clarinet ................................................................ 29 FIGURE 6-1: M. 75-80
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