SOLO AND CHAMBER CLARINET WORKS BY AMERICAN- BORN WOMEN COMPOSERS: 1990-2005

During the period of 1990-2005, American-born women composers have contributed significantly to the standard clarinet repertoire. Pioneering composers such as Joan Tower, Margaret Brouwer, and Libby Larsen have created staples for clarinet literature. Yet, there is very little scholarly research on women composers of clarinet music, most being concentrated on Joan Tower. Through my research, I have discovered over seventy-five works by more than fifty composers in the following genres: solo clarinet; clarinet and piano; clarinet and voice, with or without piano; and small chamber pieces for up to five players. This performance dissertation project consists of three recitals featuring solo and chamber works by nine living women composers, and program notes containing pertinent biographical and compositional information. My intent is to increase recognition women composers, both prominent and lesser known, who are writing high-quality, accessible clarinet literature. Each woman selected is making a full or partial living from the sales of her compositions, has received recognition through awards, commissions, grants, and frequent performances, and has composed works that are both performer and audience accessible. Recital 1: Trios for Clarinet, Violin, and Piano Commissioned by the Verdehr Trio and Composed by American-Born Women Composers. Composers: Jennifer Higdon, Joan Tower, Margaret Brouwer, and Libby Larsen. Recital II: Programmatic Clarinet Works by American-Born Women Composers. Composers: Andrea Clearfield, Stella Sung, and Karen Amrhein. Recital III: Works for Solo Clarinet, Clarinet and Piano, and Clarinet Concerto Genres by American-Born Women Composers. Composers: Persis Parshall Vehar, Jenni Brandon, Margaret Brouwer, and Libby Larsen.

Um olhar sobre a música produzida na ESML para clarinete solo e clarinete e eletrónica

O presente Projeto Artístico propõe como principal objetivo a divulgação de obras para clarinete solo e para clarinete e eletrónica produzidas no seio das classes de clarinete e composição da Escola Superior de Música de Lisboa. A preparação e montagem da obra de Edward Luiz Ayres d’Abreu, aqui realizada em estreia absoluta, pretende manter viva a continuidade de produção artística desta instituição a todos os níveis, neste caso, entre dois estudantes. Neste relatório estão registados os benefícios alcançados com o trabalho de pesquisa relacionado com os aspectos biográficos dos compositores, o contexto da criação das obras, assim como a análise e apuramento de questões interpretativas pouco utilizadas na música convencional como por exemplo, as técnicas clarinetísticas contemporâneas (glissando, frulato, vibrato, som e voz, multifónicos, micro-tons), a prática de música com eletrónica, ou a experiência inovadora da recriação musical em palco de uma partitura gráfica.

Competências extra-musicais solicitadas na obra para clarinete solo Der Kleine Harlekin de Karlheinz Stockausen

O objeto de estudo do presente trabalho é a obra Der kleine Harlekin para clarinete solo do compositor Karlheinz Stockhausen. Dada a falta de coesão sentida ao longo da obra aquando da visualização das seis gravações disponíveis, surgiu a necessidade de analisar o papel da consciência corporal do músico na performance, a aproximação da obra à commedia dell' arte e, consequentemente, a temática da utilização da máscara durante a mesma. Paralelamente, o trabalho apresenta ainda uma análise pormenorizada de todas as indicações disponíveis nas intruções da obra, bem como uma conexão entre a liberdade presente em cada uma dessas indicações e a compreensão de uma narrativa ao longo da performance por parte do público, dando especial atenção à ação como elemento base das escolhas interpretativas; Extra-musical skills in the works of musical theater for solo clarinet Abstract: This is an investigation into the piece Der kleine Harlekin for clarinet solo by Karlheinz Stockhausen. Six recordings were analysed and it was possible to understand that, at some moments, there is no cohesion throughout the all work. Thus, an analysis is made on the importance of body awareness, the approach to commedia dell' arte and, thereafter, the use of the mask on performance. Furthermore, the work also presents a detailed analysis of all the information available in the work instructions as well as a connection between their freedom and the understanding of a narrative throughout the performance by the public, giving special attention to the action as a base element of the interpretative choices.

Obras para clarinete solo produzidas por compositores portugueses em 2014 e 2015

O objeto de estudo do presente trabalho é o repertório para clarinete solo produzido por compositores portugueses. Por ser um campo vastíssimo, tornou-se necessário definir um espaço temporal mais reduzido, surgindo, assim, os anos 2014 e 2015. Este trabalho pretende contribuir para uma interpretação informada, através do estudo e análise das obras escolhidas e divulgar a música portuguesa recente, não só, o repertório existente, mas, também, com a estreia de obras. Como metodologia, foram realizados: uma pesquisa bibliográfica sobre o instrumento, um levantamento de obras, uma análise e estudo de três obras dos compositores Costa, Pascoal e Ceitil. O trabalho inicia-se com uma breve contextualização do instrumento, dando especial atenção às técnicas estendidas. Após o estudo das obras, e da reflexão do mesmo, confirma-se que de facto existe uma enorme vantagem em trabalhar as obras com os compositores e que este trabalho se reflete no ato performativo; WORKS FOR SOLO CLARINET PRODUCED BY PORTUGUESE COMPOSERES IN 2014 AND 2015 ABSTRACT: This report studies the repertoire for solo clarinet produced by portuguese composers. Giving the vastness of the subject, only a smaller time frame could be analyzed and it was the years of 2014 and 2015. The goals of this report are to create an informed interpretation, through the study and analysis of the chosen repertoire and to disclose modern portuguese music, not only existent works but also with the premiere of repertoire. The methodology was: a literature search, a survey of works, analysis and study of three works by composers Costa, Pascoal and Ceitil. This report begins with a brief background of the clarinet, paying special attention to the extended techniques. After the study of the selected works, and the reflection of it, it's confirmed that in fact there is a huge advantage in working the repertoire with composers and that this work is reflected in the performative act.

Les caractères musicaux au sein d'une démarche artistique dramatique : exploration des indices acoustiques jouant un rôle dans l'évocation des états affectifs en musique.

Cette thèse de doctorat en composition comprend deux projets de nature différente et complémentaire : (1) un projet de recherche théorique sur la communication des caractères musicaux; (2) un projet artistique s'articulant autour de la composition de trois pièces : L'homme à deux têtes - opéra de chambre, Un instant dans l'esprit de Lovecraft - pour clarinette solo, orchestre à cordes et percussions, et Balade ornithologique - pour orchestre à vents. La conception de la musique comme un moyen de communication est à l'origine de cette recherche théorique qui est motivée par un désir de compréhension des stratégies d'expressions des émotions en musique, à partir du point de vue du compositeur. Cette thèse aborde les modèles de communication, le concept de personnage virtuel et la théorie de la contagion des humeurs. Par la suite, nous détaillerons les indices acoustiques menant à la perception des caractères musicaux. Toutes ces notions sont illustrées et explorées par la composition de miniature ayant un caractère bien ciblé. Finalement, nous proposons un système d'analyse musical des caractères et des émotions qui est appliqué à l'analyse de sections des pièces composées au cours de ce projet de doctorat. Ce dernier chapitre met en lumière les stratégies utilisées pour créer un discours dramatique tout en exposant l'évocation de différents caractères musicaux.

Les caractères musicaux au sein d'une démarche artistique dramatique : exploration des indices acoustiques jouant un rôle dans l'évocation des états affectifs en musique

Cette thèse de doctorat en composition comprend deux projets de nature différente et complémentaire : (1) un projet de recherche théorique sur la communication des caractères musicaux; (2) un projet artistique s'articulant autour de la composition de trois pièces : L'homme à deux têtes - opéra de chambre, Un instant dans l'esprit de Lovecraft - pour clarinette solo, orchestre à cordes et percussions, et Balade ornithologique - pour orchestre à vents. La conception de la musique comme un moyen de communication est à l'origine de cette recherche théorique qui est motivée par un désir de compréhension des stratégies d'expressions des émotions en musique, à partir du point de vue du compositeur. Cette thèse aborde les modèles de communication, le concept de personnage virtuel et la théorie de la contagion des humeurs. Par la suite, nous détaillerons les indices acoustiques menant à la perception des caractères musicaux. Toutes ces notions sont illustrées et explorées par la composition de miniature ayant un caractère bien ciblé. Finalement, nous proposons un système d'analyse musical des caractères et des émotions qui est appliqué à l'analyse de sections des pièces composées au cours de ce projet de doctorat. Ce dernier chapitre met en lumière les stratégies utilisées pour créer un discours dramatique tout en exposant l'évocation de différents caractères musicaux.

Tracing Neoclassical Influences in selected solo and chamber music for the clarinet

The musical period of Neoclassicism began in the 1920's, between the first and second world wars. It was initiated by French composers and eventually spread to other countries. One of the most important themes to emerge from the movement was to escape from the formless, rather emotional music of the Romantic era and instead, emphasize balance, order, objectivity and clarity in musical form. Many popular clarinet repertoires are enjoyed by performers and listeners because the music is enjoyable to play and easy to listen to. In particular, classically influenced clarinet music is quite interesting because it features musical elements from both the past and contemporary musical styles. For instance, some composers have integrated preexisting, more traditional styles of composition with lighter styles of modern culture such as popular music and Jazz. It is difficult to discover purely neoclassical clarinet repertoires even though many composers created their pieces during the neoclassical era. What we most commonly find are both neoclassical and non-neoclassical influences in compositions from that time period. Thus, I aim to trace the influence of neoclassicism in selected clarinet repertoires that exist today. It is my hope that increased awareness and knowledge about accessible clarinet music may encourage the general public to develop a deeper interest in a wider sphere of clarinet music, beyond what is considered popular today. The works performed and discussed in this dissertation are the following: (Recital I) Duo Concertante by Darius Milhaud; Sonata by Leonard Bernstein; Sonata for Two Clarinets by Francis Poulenc; Duos for Flute and Clarinet, Op. 34 by Robert Muczynski; Dance Preludes by Witold Lutoslawski, (Recital II) Sonatine by Arthur Honegger; Time pieces by Robert Muczynski; Suite for Clarinet, Violin and Piano by Darius Milhaud; Sonate for Clarinet, Flute and Piano by Maurice Emmanuel; Tarantelle for Flute, Clarinet and Piano, Op. 6 by Camille Saint-Saëns, (Recital III) Sonatina by Joseph Horovitz; Suite from L'histoire du Soldat for Clarinet, Violin and Piano by Igor Stravinsky; Contrasts for Clarinet, Violin and Piano by Béla Bartók The recitals that took place on December 1, 2012 and on April 25, 2013 were performed in the Ulrich Recital Hall of the Clarice Performing Arts Center in College Park, Maryland. The recital that took place on November 2, 2013 was performed at the Gildenhorn Recital Hall of the same performing arts center.

Three pieces, clarinet solo.

Cover title.

Solo and Chamber Music of Pulitzer Prize-Winning Composers

The Pulitzer Prize in Music, established in 1943, is one of America's most prestigious awards. It has been awarded to fifty-three composers for a "distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year." Composers who have won the Pulitzer Prize are considered to be at the pinnacle of their creativity and have provided the musical world with classical music compositions worthy of future notice. By tracing the history of Pulitzer Prize-winning composers and their compositions, researchers and musicians enhance their understanding of the historical evolution of American music, and its impact on American culture. Although the clarinet music of some of these composers is rarely performed today, their names will be forever linked to the Pulitzer, and because of that, their compositions will enjoy a certain sense of immortality. Of the fifty-four composers who have won the award, forty-seven have written for the clarinet in a solo or chamber music setting (five or less instruments). Just as each Pulitzer Prize-winning composition is a snapshot of the state of American music at that time, these works trace the history of American clarinet musical development, and therefore, they are valuable additions to the clarinet repertoire and worthy of performance. This dissertation project consists of two recitals featuring the solo and chamber clarinet music of sixteen Pulitzer Prize-winning composers, extended program notes containing information on each composer's life, their music, the Pulitzer Prize-winning composition and the recital selection, and a complete list of all Pulitzer Prize-winning composers and their solo and chamber clarinet music. Featured Composers Dominick Argento, To Be Sung Upon the Water Leslie Bassett, Soliloquies William Bolcom, Little Suite of Four Dances Aaron Copland, As it Fell Upon a Day John Corigliano, Soliloquy Norman Dello Joio, Concertante Morton Gould, Benny's Gig Charles Ives, Largo Douglas Moore, Quintet for Clarinet and Strings George Perle, Three Sonatas Quincy Porter, Quintet for Clarinet and Strings Mel Powell, Clarinade Shulamit Ran, Private Game Joseph Schwantner, Entropy Leo Sowerby, Sonata Ernst Toch, Adagio elegiaco

The Interloping Beguiler: for Bass Clarinet and Orchestra

The Interloping Beguiler is an nineteen-minute concerto in four movements for bass clarinet solo and orchestra. The title refers to the role of the solo instrument, which continually thrusts itself into the affairs of the orchestra, deceiving and diverting the members of the orchestra away from their task of performing a "serious" orchestral composition. The bass clarinet portrays a comical, cartoon-like character whose awkward, and sometimes goofy, interjections cause chaos. Attempts are made by various members of the orchestra, especially the horns, to regain control of the work, but the bass clarinet always succeeds in its distracting antics. By the final movement of the composition, the bass clarinet has propelled the work into a cartoon-like landscape of quickly changing textures, dissonant intervals, and overlapping themes. The first movement, Introduction, sets the serious tone of the music to follow, or so it would seem. The entrance of the bass clarinet immediately changes this texture with its out-of-rhythm alternations between high and low pitches. This gesture provides a glimpse into the personality of the bass clarinet, an instrument here to mislead the members of the orchestra. Deception truly begins in the second movement, The Interloping Initiates. The bass clarinet starts the movement with a driving theme and is immediately supported by the orchestra. As the movement progresses, the bass clarinet quickly begins altering the theme, making it more playful and cartoonish. A struggle ensues between the horns and the bass clarinet, with the bass clarinet catapulting the piece into a latin-inspired section. The struggle continues through to the end of the movement. The third movement, Calm, is exactly what the title suggests. A sectional form distinguishes this movement from the second movement. Throughout Calm, the bass clarinet behaves with decorum, except for very large melodic leaps. The seed of anarchy planted by the bass clarinet in the second movement comes to fruition in the final movement, The Beguiling Builds. Here, the bass clarinet sends the work into chaos with sections recalling Looney Tunes cartoons, Hollywood western music, and children's folk songs.

Kammersymphonie, für 15 Solo-Instrumente op. 9. [music] /

For flute, oboe, English horn, 2 clarinets, bass clarinet, bassoon, double bassoon, 2 horns, 2 violins, viola, violoncello, and double bass.

Assessing the structure of learning outcomes from counselling using the SOLO taxonomy: an exploratory study

Thirty-five clients who had received counselling completed a letter to a friend describing in as much detail as possible what they had learned from counselling. The participants' written responses were analysed and classified using the Structure of Learning Outcomes (SOLO) taxonomy. The results suggested that an expanded SOLO offers a promising and exciting way to view the outcomes of counselling within a learning framework. If the SOLO taxonomy is found to be stable in subsequent research, and clients are easily able to be classified using the taxonomy, then this approach may have implications for the process of counselling. To maximise the learning outcomes, counsellors could use strategies and techniques to enhance their clients' learning.

Solo Show

Solo Show is a to-scale model Metro Arts’ gallery, in which it was exhibited. Set upon a timber frame, the model depicts a miniature ‘installation’ within the ‘space’: a foam block that obstructs one of the gallery’s walkways. Developed and produced for a group exhibition that explored the relationship between humour and art, this work explores and pokes fun at ideas of the institution, scale and the artist ego as well as communicating feelings of emergence, insecurity and hesitancy. The work was included in the group show 'Lean Towards Indifference!' at MetroArts, Brisbane, curated by art collective No Frills.

Solo life to Second Life : the design of physical and virtual learning spaces inspired by the drama classroom

This paper explores the design of virtual and physical learning spaces developed for students of drama and theatre studies. What can we learn from the traditional drama workshop that will inform the design of drama and theatre spaces created in technology-mediated learning environments? The authors examine four examples of spaces created for online, distance and on-campus students and discuss the relationship between the choice of technology, the learning and teaching methods, and the outcomes for student engagement. Combining insights from two previous action research projects, the discussion focuses on the physical space used for contemporary drama workshops, supplemented by Web 2.0 technologies; a modular online theatre studies course; the blogging space of students creating a group devised play; and the open and immersive world of Second Life, where students explore 3D simulations of historical theatre sites. The authors argue that the drama workshop can be used as inspiration for the design of successful online classrooms. This is achieved by focusing on students’ contributions to the learning as individuals and group members, the aesthetics and mise-en-scene of the learning space, and the role of mobile and networked technologies. Students in this environment increase their capacity to become co-creators of knowledge and to achieve creative outcomes. The drama workshop space in its physical and virtual forms is seen as a model for classrooms in other disciplines, where dynamic, creative and collaborative spaces are required.