Matching Items (13)
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- All Subjects: performing arts
- All Subjects: Clarinet and piano music
- All Subjects: Composition
- Creators: Gardner, Joshua
- Member of: ASU Electronic Theses and Dissertations
Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
For this project, I commissioned and recorded five new works for contrabassclarinet from five different composers. Composition parameters were given to each
composer before they started writing which detailed what needed to be included in each
work. Four of the composers were asked to utilize a single, difficult aspect of playing the
instrument, which included intonation, low note technique and response, phrasing, and
articulation. For the fifth work, the composer was asked to incorporate all parameters of
the project. Because of the differences between contrabass clarinet designs, I recorded
each work three times using the Leblanc Vito, Leblanc “Paperclip”, and Selmer Model 41
contrabass clarinets to demonstrate that the works were adaptable and playable. In this
paper, I will outline the parameters of the project, describe the instruments used for
recording and provide a performance guide for each work. It is my hope that these works
will provide an enjoyable way for future contrabass clarinetists to become more
proficient performers of the instrument.
ContributorsFullerton, Kimberly Irene (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Micklich, Albie (Committee member) / Wells, Christi Jay (Committee member) / Watts, Sarah (Committee member) / Arizona State University (Publisher)
Created2023
Description
The main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece.
ContributorsStrickland, Kiefer Philip (Author) / Micklich, Albie (Thesis advisor) / Gardner, Joshua (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project’s goal is to expand the repertoire for soprano saxophone featuring improvisation. Each work detailed in this document features improvisation as an integral component. The first piece, Impetus, was written by Grant Jahn for soprano saxophone and piano. The second piece, Sonata, was written for the same instrumentation by Brett Wery. Ethan Cypress wrote the third work for solo soprano saxophone, Noir et Bleu. The final composition on the project, Counterpunch by Gregory Wanamaker, was written for saxophone sextet. This paper also includes composer biographies, program notes, performance guides, and composer questionnaires. The central component of this project is a recording of all these works which features the author.
ContributorsDetweiler, Samuel (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2018
Description
As clarinet students progress in their studies, there comes a point at which many are assigned to perform contemporary repertoire that is either overplayed due to accessibility and use in pedagogy, or includes difficult extended techniques like microtones, multiphonics, and more. This project identifies a “gap” in unaccompanied clarinet repertoire and seeks to expand this repertoire by outlining a program of study featuring five newly commissioned unaccompanied clarinet solos through which students can learn both traditional and untraditional techniques. Each of the first four works focus on one aspect of clarinet technique—musicality, the altissimo register, microtones, and multiphonics, respectively—and the final work is a culmination of all these techniques. Included in this document is biographical information for each composer, program notes, a brief description, and a performance guide for each piece. Additionally, each work was recorded by the author and included with this document.
ContributorsMeadows, Olivia Lauren (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Meyer, Jeffery (Committee member) / Micklich, Albie (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project uses fourteen transcriptions of Pete Fountain’s solos as examples to
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
ContributorsWu, Shengwen (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Carpenter, Ellon (Committee member) / Kocour, Michael (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
In an effort to provide greater representation to Latin American musicians, this recording and performance guide provides commentary on three works for clarinet by composers of Mexican ethnicity, commissioned and recorded by the author. The works presented are scored for solo clarinet, clarinet & piano, and clarinet, cello, & piano.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
Each piece seeks to communicate and explore current sociopolitical issues related to Mexico, and, like this project as a whole, derive their inspiration from La Onda, a multidisciplinary artistic movement in Mexico, translating as the “wave,” “sound wave,” or “the force” that emerged as part of the 1960s and 1970s North American counterculture. La Onda music emerged as a reflection and consequence of marginalized experiences living in the United States, and is representative of ways the broader public and Latinos have claimed music as their own. As music has historically provided an arena for exploring gender, class, sexuality, and race politics for minority communities, specifically Mexicans in the United States and abroad, music continues to afford a mechanism for communicating the counterfactual in the present day. In this context, this guide synthesizes a broader collaboration with composers to create new, narrative-based repertoire that provides accessibility, greater awareness, and lasting representation to a demographic that has historically been underserved within the classical canon.
ContributorsDominguez, Vincent Robert (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Schuring, Martin (Committee member) / Bolaños, Gabriel J. (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2020