THROUGH HIS OWN WORDS: AN EXPLORATION OF THE PEDAGOGY OF ROBERT MARCELLUS Karen Andreas Bronson, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2019 APPROVED: Phillip O. Paglialonga, Major Professor Eugene Migliaro Corporon, Committee Member Kimberly Cole Luevano, Committee Member John Holt, Chair of the Division of Instrumental Studies Felix Olschofka, Interim 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 Bronson, Karen Andreas. Through His Own Words: An Exploration of the Pedagogy of Robert Marcellus. Doctor of Musical Arts (Performance), August 2019, 119 pp., 3 figures, 4 exercises, 39 musical examples, 5 appendices, bibliography, 36 titles. This dissertation presents the clarinet pedagogy of Robert Marcellus through reorganizing, documenting, and consolidating the archival recordings of summer master classes held at Northwestern University from 1977-1990. Pedagogical discussions and exercises are examined on topics such as wind, articulation, hand and finger position, and phrasing. Marcellus' interpretation and comments are discussed, along with musical examples from Cyrille Rose's 40 Studies for Clarinet, numbers 13, 21 and 32. This dissertation contains Marcellus' repertoire list and a sequence of study. Through this examination and consolidation of Marcellus' own words, this dissertation serves as a unique resource for those clarinetists interested in learning about this distinguished pedagogue. Copyright 2019 by Karen Andreas Bronson ii ACKNOWLEDGEMENTS There are many to whom I am grateful. Thank you first of all to my committee: Dr. Phillip O. Paglialonga, Dr. Kimberly Cole Luevano, and Professor Eugene Migliaro Corporon for your commitment to advising me on this project. Thank you also to Dr. John Scott for the two years that you helped me with my degree. I could not have done this without the support of my friends and family, especially to my husband Tom who has been patient, supportive, and has given me the strength through this journey. I appreciate the love and encouragement from my daughters Kelsey, Hannah and Emily and to my parents George and Fran Andreas, for their unyielding support. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................................................................................................................... iii LIST OF ILLUSTRATIONS................................................................................................................... vi LIST OF MUSICAL EXAMPLES .......................................................................................................... vii CHAPTER 1. INTRODUCTION ........................................................................................................... 1 1.1 Background ............................................................................................................. 1 1.2 Rose Études and their Significance to Robert Marcellus ........................................ 2 1.3 Source and Method ................................................................................................ 2 1.4 Purpose ................................................................................................................... 3 CHAPTER 2. BACKGROUND ON ROBERT MARCELLUS .................................................................... 4 2.1 Training ................................................................................................................... 4 2.2 Performance Career ................................................................................................ 4 2.3 Teaching and Conducting Career ............................................................................ 5 CHAPTER 3. PRÉCIS OF STUDY ........................................................................................................ 7 3.1 Air Speed, Wind, and Breathing .............................................................................. 7 3.2 Oral Cavity, Lips, Jaw, Embouchure ........................................................................ 8 3.3 Articulation ........................................................................................................... 11 3.4 Fingers and Hand Position .................................................................................... 12 3.5 Phrasing Analysis ................................................................................................... 17 3.5.1 Appoggiatura Phrase ................................................................................. 17 3.5.2 Melodic Phrase (or Casals Phrase) ............................................................ 20 3.5.3 Rhythmic Phrase ....................................................................................... 21 3.5.4 Harmonic Phrase ....................................................................................... 22 3.5.5 Comparing Similar Phrases ....................................................................... 23 3.6 Vibrato on the Clarinet ......................................................................................... 24 CHAPTER 4. REPERTOIRE IN TEACHING ........................................................................................ 25 4.1 Syllabus of Study Introduction .............................................................................. 25 iv 4.1.1 Finger Technique ....................................................................................... 28 4.1.2 Legato and Phrasing in Music ................................................................... 28 4.1.3 Articulation ............................................................................................... 29 4.1.4 Repertoire ................................................................................................. 30 4.1.5 Summary ................................................................................................... 31 4.2 Sequence of Study ................................................................................................ 31 CHAPTER 5. ANALYSIS OF PEDAGOGICAL APPROACH ON THREE ROSE 40 STUDIES.................... 37 5.1 Étude Number 13 .................................................................................................. 37 5.2 Étude Number 21 .................................................................................................. 42 CHAPTER 6. OTHER INFORMATION .............................................................................................. 58 6.1 Other Resources on Rose Études .......................................................................... 58 6.2 Other Topics in Master Class Series ...................................................................... 58 6.3 Overview of Master Class Series ........................................................................... 59 APPENDIX A. MASTER CLASS TRANSCRIPTIONS 06-28-1977 ........................................................ 61 APPENDIX B. MASTER CLASS TRANSCRIPTION 06-29-1977 .......................................................... 76 APPENDIX C. MASTER CLASS TRANSCRIPTION 06-26-1979 .......................................................... 84 APPENDIX D. MASTER CLASS TRANSCRIPTION 6-23-1980 ........................................................... 98 APPENDIX E. MASTER CLASS TRANSCRIPTION 6-18-1990 .......................................................... 110 BIBLIOGRAPHY ............................................................................................................................ 117 v LIST OF ILLUSTRATIONS Page Figures Figure 3.1: Triangle Embouchure .................................................................................................. 11 Figure 4.1: Teaching Syllabus ........................................................................................................ 34 Figure 4.2: Marcellus Repertoire List ............................................................................................ 35 Exercises Exercise 3.1: Stopped Staccato Exercise ....................................................................................... 12 Exercise 3.2: Hand Position ........................................................................................................... 13 Exercise 3.3: Bonade’s Finger Motions Exercise .......................................................................... 15 Exercise 3.4: Marcellus’ Finger Motion Exercise .......................................................................... 16 vi LIST OF MUSICAL EXAMPLES Page Example 3.1: Brahms Symphony No. 3, Mvt. 2, Excerpt .............................................................. 16 Example 3.2: Rose 40 Studies, No. 13, m. 2 (Simplified) .............................................................. 19 Example 3.3: Appoggiatura Phrase with Rearticulated Suspension, Rose 40 Studies, No. 13, mm. 1-2 (Simplified) .............................................................................................................................. 20 Example 3.4: Appoggiatura Phrase with Rearticulated Suspension, Rose 40 Studies, No. 13, mm. 15-16 (Simplified) .......................................................................................................................... 20 Example 3.5: Melodic Phrase, Rose 40 Studies, No. 13, mm. 19-20 ............................................ 21 Example 3.6: Melodic Phrase, Beethoven Symphony No. 8, mvt. 3, m. 76-78 ...........................