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Artykuły w czasopismach na temat "Clarinet History"
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Karp, Cary. "The early history of the clarinet and chalumeau". Early Music 14, nr 4 (listopad 1986): 545–51. http://dx.doi.org/10.1093/earlyj/14.4.545.
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Gardner, Joshua. "Effects of a Synthetic Clarinet Bore Liner on Spectral Centroid and Fundamental Frequency Error". Acta Acustica united with Acustica 105, nr 6 (1.11.2019): 1206–16. http://dx.doi.org/10.3813/aaa.919397.
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Throughout their relatively short history, various materials have been used to construct clarinets. While wood is the most common material used for modern professional clarinets, other materials have been and continue to be used, including synthetic materials. Despite the availability and accessibility of these materials, professional musicians rarely use instruments made from synthetics, insisting that their wooden counterparts produce superior results. Numerous studies have found the energy radiated directly by rigid cylindrical vibrating tubes to be both insignificant and have little to no effect on an internal vibrating air column. Using real instruments played by musicians, the present study compared a prototype clarinet upper joint with a synthetic bore liner produced by French instrument maker Henri Selmer Paris to two unlined, solid wood clarinets of the same make and model by examining two acoustical parameters. Spectral centroid and fundamental frequency f0 pitch error were measured for 45 notes (written E3-C7), performed by five accomplished clarinetists unaware of which instrument they were playing. Consistent with findings from other researchers, the particular instrument had no significant effect on spectral centroid. Meanwhile, although a significant effect of the instrument on f0 pitch error was found, pairwise comparisons suggest non-significant effects from the lined joint.
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Ward, Tina. "The Return". Medical Problems of Performing Artists 15, nr 2 (1.06.2000): 79–80. http://dx.doi.org/10.21091/mppa.2000.2016.
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Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano". Musical art in the educological discourse, nr 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.
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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.
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Pérez Garrido, Javier. ""Beso Mediterráneo", tangos flamencos". Revista de Investigación sobre Flamenco "La Madrugá", nr 16 (27.12.2019): 137–76. http://dx.doi.org/10.6018/flamenco.354511.
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Los tangos son uno de los palos más conocidos y reconocidos del universo flamenco. Su versatilidad les ha permitido adaptarse a diferentes enfoques, confiriéndoles de este modo la posibilidad de adherirse a una amplia variedad de estéticas sin perder por ello sus señas de identidad. Este artículo pretende dar a conocer, analizando sus aspectos más relevantes, una de mis más recientes composiciones, unos tangos flamencos sinfónicos, Beso mediterráneo, escritos originalmente para clarinete solo y arreglados para banda de música. "Tangos flamencos" are one of the best known and recognized flamenco music styles. Thanks to its versatility and since the first appearance of tangos in history, many of them have been adapted in many different ways without losing their main characteristics. This article has been written to speaks about Mediterranean kiss, a symphonic tangos flamencos for concert band. Although they were originally written for solo clarinet, the composer has just orchestrated this piece for symphony band. For getting a better understanding of the mentioned work, this article will analyse many of the most relevant aspects of this band music composition.
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Хавров, В. В. "Сlarinets in Carl Maria von Weber’s Early Operas". OPERA MUSICOLOGICA, nr 2 (1.05.2021): 6–30. http://dx.doi.org/10.26156/om.2021.13.2.001.
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В статье проанализированы партии кларнетов в ранних операх Карла Марии фон Вебера — композитора, позднее создавшего для этого инструмента ряд произведений, которые до сих пор входят в его концертный репертуар. Работа Вебера с кларнетом до сольных сочинений (первое из них, Концертино, было написано в 1811 году) показывает освоение им опыта предшественников и процесс поиска собственного пути в композиции. Первые оперы Вебера, не без оснований считающиеся незрелыми и малоудачными сочинениями, обычно не попадают в поле зрения исследователей, но тем интереснее оказывается проследить, как он использует в этих операх инструмент, который в будущем станет столь важным для его творчества. Если в «Немой лесной девушке», первой из сохранившихся опер Вебера, кларнет звучит редко и характерные черты его тембра лишь едва заметны, то в последовавшем за ней «Петере Шмоле» эти черты проявляются уже более ярко и разнообразно. Наконец, в истории создания «Сильваны», оперы в общем не показательной в смысле использования кларнета, содержится любопытный сюжет, через который соединяются ранние оперы Вебера и его сольные кларнетные сочинения. The article examines clarinet parts in early operas by Carl Maria von Weber, who later created several works for this instrument, that still remain in its concert repertory. Weber’s work with this timbre before turning to solo works (the first one, Concertino, was written in 1811) shows his learning from the experience of his predecessors and searching for his own way in composing music. Weber’s first operas, considered with good cause immature and unsuccessful works, do not usually fall within the attention of scholars, but it is nevertheless interesting to trace in this operas his use of the instrument that would later become so important for his creative work. In Das stumme Waldmädchen, his first surviving opera, the clarinet plays only rarely and its distinctive features are just barely perceptible, but in the following Peter Schmoll these features are revealed in a more vivid and diverse manner. Finally, the history of Silvana that is generally not exemplary for clarinet use, contains a curious case that connects Weber’s early operas and his solo clarinet works.
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Nemoto, Koichi, i Hiroshi Arino. "Hand and Upper Extremity Problems in Wind Instrument Players in Military Bands". Medical Problems of Performing Artists 22, nr 2 (1.06.2007): 67–69. http://dx.doi.org/10.21091/mppa.2007.2014.
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This study examined the medical problems, especially of the hand and upper extremity, observed in wind instrument players from the military bands of the Japan Self-Defense Forces. The bands included 235 wind instrument players (184 men, 51 women), whose ages ranged from 18 to 57 yrs (average, 35 yrs). The length of their careers ranged from 6 to 41 yrs (average, 21 yrs). Methods: A questionnaire was distributed to the subjects for the health check. Results: From 235 wind instrument players, 71 (30% of the total players, 27% of the male players, and 41% of the female players) had hand and upper extremity problems. No relationship between the problem and the age or length of career was observed. The most common complaints were pain (49%), stiffness (19%), and numbness (7%). The upper extremities accounted for 52% of the affected sites and included the shoulder (6%), elbow (11%), forearm (4%), wrist (31%) and digit (47%). Musicians who played the flute, oboe, or clarinet were most commonly affected. The right thumb pain of clarinet and oboe players and right wrist pain of French horn players were characteristic symptoms of these instruments. Conclusion: Physicians, musicians, and administrators should be conscious of the potential for musicians to develop a wide array of physical problems directly related to the repeated use of their musical instruments.
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Young, Kathryn E., i Sara A. Winges. "Thumb-Rest Position and its Role in Neuromuscular Control of the Clarinet Task". Medical Problems of Performing Artists 32, nr 2 (1.06.2017): 71–77. http://dx.doi.org/10.21091/mppa.2017.2013.
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Musicians spend long hours of practice and performance to master their instrument. Clarinet players support their roughly 2-lb instrument on the right-hand thumb, which results in cumulative static loading of the arm. This posture in turn can cause discomfort and, in some cases, evolve into debilitating overuse injuries and pain throughout the right upper limb. Altering the thumb-rest position has been proposed as a way to alleviate this discomfort, although no quantitative research has been conducted on this issue. The purpose of this study was to address the impact of thumb-rest position on the neuromuscular control of holding the clarinet. Surface electromyographic recordings of superficial muscles that control the right thumb, wrist, and arm were taken during realistic playing tasks. Twenty clarinetists performed 10 held notes and 10 exercises on the three different thumb-rest positions. The notes and exercises were chosen to isolate specific elements of playing. We hypothesized that a high thumb-rest position would result in a significantly different balance of muscle activity than traditional and low thumb-rest positions. The patterns of muscle activity recorded among clarinetists were idiosyncratic, but for all players these patterns were influenced by the note(s) played and thumb-rest position, and thus the hypothesis was partially supported. Muscles that acted on the thumb and wrist were most influenced by thumb-rest position. These results support the notion that adjustment of thumb-rest position may be a useful way to alleviate discomfort in the supporting limb but must be evaluated for each individual.
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Baadjou, VAE, MDF van Eijsden-Besseling, JAMCF Verbunt, RA de Bie, RPJ Geers, RJEM Smeets i HAM Seelen. "Playing the Clarinet: Influence of Body Posture on Muscle Activity and Sound Quality". Medical Problems of Performing Artists 32, nr 3 (1.09.2017): 125–31. http://dx.doi.org/10.21091/mppa.2017.3021.
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Musculoskeletal complaints are highly prevalent in clarinetists and are related to high arm load while playing. It is hypothesized that postural exercise therapy may be used to adapt muscle activity patterns while playing and thus contribute to better sound quality. The goal of the present study was to investigate the relationship between body posture, muscle activity, and sound quality in clarinetists while playing the instrument in two different postures, their habitual sitting posture (control, CO) vs an experimental sitting posture (EXP) based on Mensendieck postural exercise therapy, method Samama. Twenty healthy professional and student clarinet players, aged 18–60 years, were included in this cross-sectional study. Participants played a 60-second musical excerpt in CO, followed by instruction on the EXP body posture, and then played in the EXP condition. Two-dimensional goniometric analysis was used to calculate body posture; muscle activity was measured bilaterally using surface electromyography. In EXP, a significantly smaller low thoracic angle, smaller high thoracic angle, and larger pelvic tilt angle (all p<0.001) were found. EMG results indicated that the left and right erector spinae L3 and left and right lower trapezius were more active in EXP compared to CO, whereas left upper trapezius and right brachioradialis were less active in EXP than CO. Most participants experienced better sound quality in EXP, whereas blinded experts found no consistent pattern between body posture and sound quality. To conclude, it seems that postural exercise therapy may change muscle activity patterns. By increasing stability, a decrease in activity of the upper extremity muscles can be induced.
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Todd, R. Larry. "Late Brahms, Ancient Modes". Nineteenth-Century Music Review 15, nr 3 (26.06.2018): 421–42. http://dx.doi.org/10.1017/s1479409818000319.
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History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical historicism. But on the other hand, his music was embraced for showing a way forward for a number of next-generation composers who would contend with twentieth-century modernism, most notably of course Schoenberg, in his essay ‘Brahms the Progressive’, but also Anton von Webern, whose transitional Passacaglia op. 1 was unthinkable without the precedent of Brahms’s op. 90, and whose aphoristic miniatures betrayed the concentrated expression and opening up of register in Brahms’s late Klavierstücke.This essay considers one still relatively little-explored facet of Brahms’s historical gaze – his use of modes in his later music, and their potential for creating alternative means of musical organization that challenged, and yet were somehow compatible with, tonality. Examples considered include the first movement of the Clarinet Trio op. 114 and slow movement of the String Quintet no. 2 op. 111. Unlike Brahms’s earlier compositions that treat modes as signifiers of a style of folk music or simulated folk music, the later instrumental works seem to juxtapose principles of modal organization within the context of tonal compositions. Thus, in the first movement of the Clarinet Trio, eerie passages in fauxbourdon impress as allusions to a distant, archaic musical other, as if Brahms the historian were searching for the distant roots of his musical aesthetic.
Rozprawy doktorskie na temat "Clarinet History"
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Rice, Albert R. "A History of the Clarinet to 1820". Scholarship @ Claremont, 1987. http://scholarship.claremont.edu/cgu_etd/106.
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This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.
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Steltzner, Becky L. "The history of the clarinet in South Africa". Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.
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This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.
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Beare, Michael. "British clarinet playing from 1940". Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mumb368.pdf.
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Ellsworth, Jane Elizabeth. "The clarinet in early America, 1758-1820". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101894710.
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Montoya, García Elvira. "Escritura e instrumento. Conceptos interrelacionados". Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29969.
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El trabajo desarrollado a continuación analiza la evolución de la escritura del repertorio de clarinete desde el Clasicismo hasta el siglo XX. Para ello he tenido en cuenta un factor de vital importancia en el que me apoyaré para avanzar en este proyecto; me refiero naturalmente a la evolución del instrumento. Con ello no pretendo describir la evolución organológica paso a paso, sería inabarcable en este trabajo, simplemente me ciño a tres momentos concretos.
Las obras elegidas para llevar a cabo este estudio son representativas de algunos de los períodos más importantes de la Historia de la música, así como relevantes de la propia literatura del clarinete.
- Clasicismo: Concierto para clarinete KV 622 de W. A. Mozart.
- Romanticismo: Piezas de fantasía op. 73 de R. Schumann.
- Siglo XX: Primera Rapsodia para clarinete de C. Debussy, Tres Piezas para clarinete solo de I. Stravinsky y Sonata para clarinete y piano de F. Poulenc.
La estructura del trabajo se divide en cinco secciones, como cinco son las corrientes estilísticas que abarca. Comenzaré realizando una reseña bibliográfica del compositor a tratar. En segundo lugar, trataré las circunstancias en la que fue escrita la obra, abordando las características de la misma junto a un esquema analítico. Por último, relacionaré la forma en la que las mejoras técnicas que van apareciendo en el clarinete afectan a la escritura de la música en la que es protagonista, utilizando pasajes representativos de cada una de las obras que interpretaré en mi recital; ABSTRACT:
Composition and instrument. Interrelated concepts. The task here developed aims to analyze the evolution of clarinet writing from classicism to the twentieth century. In order to achieve this I have taken into consideration a fundamental matter which I have set as the base of my research and followed progressively, I am referring to the evolution of the instrument itself. Nevertheless I do not intend to describe such evolution step by step as it would be out of this task's scope. I am just going to be making reference to three specific moments in time. The works chosen to carry this research are representative of some of the most important periods in music history as well as relevant in relation to the literature for clarinet. - Classicism: Clarinet Concerto KV 622 by W. A. Mozart. - Romanticism: Fantasy Pieces op. 73 by R. Schumann. - 20th Century: Première Rhapsodie by C. Debussy, Three Pieces for solo clarinet by I. Stravinsky and Sonate for clarinet and piano by F. Poulenc. The task is structured in five sections, as five are the stylistic currents it deals with. I am going to start by providing a bibliographical report on the composer here studied. Secondly I am going to develop on the circumstances in which each work was written, looking at their features and analyzing them by means of a diagram. Finally I am going to conect the way the best techniques for clarinet have affected music writing through the use of representative passages of each work that I am playing in my recital; RESUMO:
Escrita e instrumento. Conceitos interrelacionados.
O trabalho desenvolvido a seguir analisa a evolução da escrita do repertório para clarinete desde o Classicismo até o século XX. Para isso, levei em consideração um fator de vital importância com o qual contarei para avançar neste projeto; Refiro-me naturalmente à evolução do instrumento. Com isto não pretendo descrever passo a passo a evolução organológica, seria interminável neste trabalho, limitando-me apenas a três momentos específicos.
As obras escolhidas para realizar este estudo são representativas de alguns dos períodos mais importantes da História da música, bem como relevantes para a própria literatura clarinete.
- Classicismo: Concerto para clarinete KV 622 de W. A. Mozart.
- Romantismo: Peças de fantasia op. 73 por R. Schumann.
- Século 20: Primeira Rapsódia para clarinete de C. Debussy, Três peças para clarinete solo de I. Stravinsky e Sonata para clarinete e piano de F. Poulenc.
A estrutura da obra está dividida em cinco seções, sendo cinco as correntes estilísticas que ela engloba. Começarei fazendo uma revisão bibliográfica do compositor a ser tratado. Em segundo lugar, tratarei das circunstâncias em que a obra foi escrita, abordando suas características juntamente com um esquema analítico. Por fim, relatarei a forma como as melhorias técnicas que surgem no clarinete afetam a escrita da música da qual ele é o protagonista, utilizando passagens representativas de cada uma das obras que irei apresentar em meu recital.
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Powell, Alyssa Rose. "Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1589808462811083.
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Thrasher, Michael 1972. "The Use of the Clarinet in Selected Viennese Operas, 1786-1791, With Three Recitals of Selected Works by Brahms, Muczynski, Benjamin, Widor, Hindemith, and Others". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278193/.
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In an appendix section, three notable arias have been transcribed for two clarinets, voice, and piano. A further evaluation of Classical period opera orchestration will aid modern performers and musicologists in their understanding of what clarinets and clarinetists were able and expected to do.
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Locke, Scott A. "The accompanied clarinet works of Eugene Bozza : descriptive analysis and performance guide with emphasis on the clarinet concerto". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026699.
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French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet.School of Music
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Simon, Karem Joseph. "Historical and performance perspectives of clarinet material performed in a thesis recital". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26038.
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This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture
in a more detailed and extensive account.
A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2.
Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works.
Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A.
Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice.
Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist
of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression.Arts, Faculty of
Music, School of
Graduate
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Braun, Lindsay Taylor. "The Mystery of the Chalumeau and Its Historical Significance as Revealed Through Selected Works for Chalumeau or Early Clarinet by Antonio Vivaldi: A Lecture". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849668/.
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Factual evidence concerning the ancestry of the clarinet has been a perpetual topic of debate among musicologists and organologists. Scholars have widely agreed that the clarinet, first documented in 1710, emerged from the baroque invention of the chalumeau (invented circa 1690), which in itself was an improvement upon the recorder. Considering the chalumeau's short lifespan as the predominant single reed instrument in the early eighteenth century, the chalumeau inspired a monumental amount of literature that includes vocal and instrumental genres written by distinguished composers. Vivaldi is considered to be the most significant composer that wrote for both clarinet and chalumeau; he wrote for both instruments simultaneously throughout his life whereas his contemporaries seemingly replaced the chalumeau with the clarinet. This project will discuss Vivaldi's proximity to the chalumeau and the clarinet and will provide an in-depth analysis of relevant works by the composer to determine how he, unlike his contemporaries, treated the chalumeau and the clarinet as separate and equally viable instruments. Following a brief history of the chalumeau and clarinet in Italy and a relevant biography of Vivaldi (Ch. 2), this document will discuss the integral Vivaldi compositions that include clarinet and chalumeau and the role of the clarinet or chalumeau in each work (Ch. 3). Chapter 4 solves the mystery of why Vivaldi continued to compose for the chalumeau while his contemporaries replaced the chalumeau with the clarinet.
Książki na temat "Clarinet History"
1
Clarinet. London: Kahn & Averill, 1990.
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2
From the clarinet d'amour to the contra bass: A history of the large size clarinets, 1740-1860. New York: Oxford University Press, 2008.
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3
Birsak, Kurt. The clarinet: A cultural history. Buchloe: Druck und Verlag Obermayer, 1994.
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4
Exploring the clarinet: A guide to clarinet technique and Finnish clarinet music. Helsinki]: Fennica Gehrman, 2010.
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5
The baroque clarinet. Oxford [England]: Clarendon Press, 1992.
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6
Turner, Barrie Carson. The living clarinet. New York: Alfred A. Knopf, 1996.
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Rice, Albert Richmond. A history of thr clarinet to 1820. Ann Arbor: UMI, 1987.
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8
Rice, Albert Richard. A history of the clarinet to 1820. Ann Arbor: UMI, 1987.
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9
The compact clarinet: A complete guide to the clarinet and ten great composers. London: Macmillan, 1996.
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10
Lawson, Colin. The early clarinet: A practical guide. Cambridge, UK: Cambridge University Press, 2000.
Znajdź pełny tekst źródłaCzęści książek na temat "Clarinet History"
1
Lawson, Colin. "RE-CREATING HISTORY?" W The Clarinet, 228–54. Boydell US, 2021. http://dx.doi.org/10.2307/j.ctv1jpf29c.14.
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Gioia, Ted. "The Swing Era". W The History of Jazz, 161–236. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190087210.003.0005.
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This chapter looks at the dramatic changes in American culture during the 1930s, when danceable swing jazz played by big bands became the most popular music in the United States. The emergence of a more propulsive dance beat in Kansas City jazz, led by the Count Basie band, set the stage for this shift in the public’s tastes. But the rise to fame of Benny Goodman in the mid-1930s was the transformative event that established jazz as the dominant sound of ballrooms and radio broadcasts throughout the country. This chapter looks at Goodman and his clarinet rival Artie Shaw, and the other leading big bands of the era, as well as the seminal work of Billie Holiday, Lester Young, Django Reinhardt, Coleman Hawkins, Mary Lou Williams, and others. The chapter concludes with an account of Duke Ellington’s mid- and late-career music.
3
"A Digital Humanities Approach to the History of Culture and Science: Drugs and Eugenics Revisited in Early 20th-Century Dutch Newspapers, Using Semantic Text Mining". W CLARIN in the Low Countries, 325–36. Ubiquity Press, 2017. http://dx.doi.org/10.5334/bbi.27.
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