INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road Ann Arbor, Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 9401192 A selected bibliography of music for clarinet and one other instrument by women composers Richards, Melanie Ann, D.M.A. The Ohio State University, 1993 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 A SELECTED BIBLIOGRAPHY OF MUSIC FOR CLARINET AND ONE OTHER INSTRUMENT BY WOMEN COMPOSERS DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Melanie Ann Richards, B.M., M.M. The Ohio State University 1993 Document Committee: Approved by Professor Christopher Weait Co-Adviser Professor James Pyne School of Music Dr. Judith Delzell iser c Scb Music Copyright by Melanie Ann Richards 1993 To all women composers and performers before me who have had the strength and the will to persevere, especially when the odds were against them. ii ACKNOWLEDGEMENTS I express sincere gratitude to Professor Christopher Weait for his continuous emotional and intellectual support throughout this research project. Thanks also to Professor James Pyne and Dr. Judith Delzell for their encouragement and suggestions as members of my D.M.A. committee throughout the last three years. For her knowledge of the field of women in music and help locating resources, I graciously thank Dr. Liane Curtis. Gratitude is also expressed to Dr. Sheung-Ping Lai, without whose inspiration this document topic would have never occurred to me. A most special thank you to my husband, David, for his research assistance and especially for giving me the strength and courage to do something I really believe in. iii VITA December 19.1964....................................... Bom - Akron, Ohio 1986............................................................... B.M. , Cleveland State University, Cleveland, Ohio 1988............................................................... M.M. , Northwestern University, Evanston, Illinois 1989-1990.................................................... Instructor of Woodwinds, Clarion University of Pennsylvania, Clarion, Pennsylvania 1990-1993 ...................................................... Graduate Teaching Associate in Clarinet, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music Studies in Clarinet with James Pyne Studies in Music Education with Dr. Timothy Gerber, Dr. Patricia Flowers, Dr. Peter Costanza and Dr. Jere Forsythe iv TABLE OF CONTENTS DEDICATION ............................................................................................................ ii ACKNOWLEDGEMENTS....................................................................................... iii VITA ............................................................................................................................iv CHAPTER I. Introduction.......................................................................................... 1 II. Organization of the bibliography..................................................... 15 III. Unaccompanied clarinet/bass clarinet........................................... 17 A. Unaccompanied Clarinet............................................... 17 B. Unaccompanied Bass Clarinet..........................................23 IV. 2 clarinets...............................................................................................24 V. Clarinet/Bass clarinet and piano...................................................... 26 A. Clarinet and Piano............................................................ 26 B. Bass Clarinet and Piano................................................... 44 VI. Clarinet and large ensemble............................................................... 45 A Clarinet and B and..............................................................45 B. Clarinet and Chamber Ensemble..................................... 45 C. Clarinet and Orchestra/Strings..................................... 45 VII. Clarinet and percussion................................................................. 49 VIII. Clarinet and tape.............................................................................. 50 IX. Clarinet and one other instrument................................................... 51 A . Clarinet and Bassoon................................................... 51 B . Clarinet and Flute......................................................... 51 C . Clarinet and H arp.......................................................... 52 D . Clarinet and Oboe......................................................... 52 E . Clarinet and Viola......................................................... 52 F . Clarinet and Violin....................................................... 52 G . Clarinet and Violoncello................................................ 52 H . Clarinet and Trumpet.................................................. 53 I . Clarinet and one other instrument............................ 53 INDEX OF COMPOSERS..................................................................................... 54 APPENDICES A. Different Times for clarinet and piano by Sheung-Ping Lai......................................................................... 65 B. List of publisher addresses............................................................. 90 C. List of composer addresses............................................................... 93 LIST OF REFERENCES ........................................................................................ 95 vi CHAPTER I INTRODUCTION This document began as a listing of works for clarinet in a variety of settings and duets for clarinet and one other instrument written by women composers. The purpose of this research is to encourage performers to seek out music by women and in order to introduce this music to audiences on recital programs. However, as this researcher became more absorbed in the field of women and music, it was discovered that the role the performer must play in this "reconstruction" of the musical canon is of the utmost importance. It is through this thought process that a fellow female graduate student was approached concerning the commissioning of a piece for clarinet and piano that would be performed as a part of the final recital for this degree and which would be included as a part of this document in the appendix. This commission will be explain more thoroughly in the second part of the Introduction. Historical background Throughout modern history, "women's contributions as composers have been left out of standard histories" (Pool, 1979, p. 28) and it has only been in the past decade that researchers have been inspired to uncover such hidden information. As late as 1979 it was still such a problem that Pool wrote: Someday it will not be necessary to discuss women composers as a group as if they were separate and outside the music mainstream. A time will come when the music of women will be considered on the basis of its quality, rather than on the basis of the creator's gender. (Pool, 1979, p. 36) 1 2 When this type of research was just beginning in the middle to late 1970's, it was quickly discovered that questions concerning names (maiden names, married names, male pseudonyms) were going to be a challenge. After marriage many women composers of earlier times chose to go by their husband's name, such as Mrs. H.H.A. Beach, also known as Amy Marcy Cheney Beach. "There was also ' The Honorable Mrs. Norton,' whose husband may have been serving in some official capacity, or was it merely her desire to enjoy a particular respect by means of her signature?" (Green, 1976, pp. 9-10). During the nineteenth century some songwriters chose simply to sign by "A Lady From Philadelphia" (Pool, 1979, p. 30) to maintain their anonymity and their femininity. Marcia Citron, in her articleGender, Professionalism and the Musical Canon (1990) describes the reason for the phenomenon of male pseudonyms as follows: The fact that several women have felt compelled to conceal their femaleness and assume authorship under a neutral or masculine identity shows