Matching Items (5)
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- All Subjects: Clarinet music
- All Subjects: Paris Conservatory
- Creators: Micklich, Albie
- Member of: Theses and Dissertations
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Resource Type: Text
- Status: Published
Description
This project features three new pieces for clarinet commissioned from three different composers. Two are for unaccompanied clarinet and one is for clarinet, bass clarinet, and laptop. These pieces are Storm's a Comin' by Chris Burton, Light and Shadows by Theresa Martin, and My Own Agenda by Robbie McCarthy. These three solos challenge the performer in various ways including complex rhythm, use of extended techniques such as growling, glissando, and multiphonics, and the incorporation of technology into a live performance. In addition to background information, a performance practice guide has also been included for each of the pieces. This guide provides recommendations and suggestions for future performers wishing to study and perform these works. Also included are transcripts of interviews done with each of the composers as well as full scores for each of the pieces. Accompanying this document are recordings of each of the three pieces, performed by the author.
ContributorsVaughan, Melissa Lynn (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Feisst, Sabine (Committee member) / Arizona State University (Publisher)
Created2013
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
Description
Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.
ContributorsPalmer, Katherine H (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this thesis is to examine the events surrounding the creation of the oboe and its rapid spread throughout Europe during the mid to late seventeenth century. The first section describes similar instruments that existed for thousands of years before the invention of the oboe. The following sections examine reasons and methods for the oboe's invention, as well as possible causes of its migration from its starting place in France to other European countries, as well as many other places around the world. I conclude that the oboe was invented to suit the needs of composers in the court of Louis XIV, and that it was brought to other countries by French performers who left France for many reasons, including to escape from the authority of composer Jean-Baptiste Lully and in some cases to promote French culture in other countries.
ContributorsCook, Mary Katherine (Author) / Schuring, Martin (Thesis director) / Micklich, Albie (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Music (Contributor)
Created2015-05
Description
ABSTRACT
The annual concours, or examens de fin d’année, of the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) is a centuries-old tradition that began in 1797. It serves to determine each participating student’s readiness for graduation. For each competition from 1797-1999, specific pieces were assigned for each instrument. Through much of the nineteenth century, conservatory professors wrote these pieces for their students. In the twentieth century, the practice of assigning works previously written by other composers or commissioning new works by (usually) French composers became the norm. Oboists outside of France tend to associate terms such as “conservatory pieces” or “concours pieces” with pieces assigned during the nineteenth century, while generally overlooking twentieth century morceaux de concours. The purpose of this paper is to bring these forgotten pieces to light and provide background information to help oboists determine the suitability of these pieces for their own performance contexts.
Because research regarding the pieces selected during Professor Georges Gillet’s tenure (1882-1919) is already available, this paper focuses on the pieces selected from 1920-1999. A list of required pieces for oboe from 1824-2000, obtained from CNSMDP archive manager Sophie Lévy, made possible the compilation of an annotated bibliography of morceaux de concours for oboe from 1920-1999. (The annotated bibliography ends with the 1999 concours because, since 2000, oboists have been required to select their own programs.) The bibliography lists every piece that was performed, but only gives detailed descriptions of (1) twentieth century pieces that were specifically commissioned for the concours and (2) twentieth century pieces selected, but not specifically commissioned, for the concours, that are not considered to be part of the standard oboe repertoire. A brief description of trends observed within this set of contest pieces follows the bibliography, along with appendices intended to facilitate more productive use of the bibliography.
The annual concours, or examens de fin d’année, of the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) is a centuries-old tradition that began in 1797. It serves to determine each participating student’s readiness for graduation. For each competition from 1797-1999, specific pieces were assigned for each instrument. Through much of the nineteenth century, conservatory professors wrote these pieces for their students. In the twentieth century, the practice of assigning works previously written by other composers or commissioning new works by (usually) French composers became the norm. Oboists outside of France tend to associate terms such as “conservatory pieces” or “concours pieces” with pieces assigned during the nineteenth century, while generally overlooking twentieth century morceaux de concours. The purpose of this paper is to bring these forgotten pieces to light and provide background information to help oboists determine the suitability of these pieces for their own performance contexts.
Because research regarding the pieces selected during Professor Georges Gillet’s tenure (1882-1919) is already available, this paper focuses on the pieces selected from 1920-1999. A list of required pieces for oboe from 1824-2000, obtained from CNSMDP archive manager Sophie Lévy, made possible the compilation of an annotated bibliography of morceaux de concours for oboe from 1920-1999. (The annotated bibliography ends with the 1999 concours because, since 2000, oboists have been required to select their own programs.) The bibliography lists every piece that was performed, but only gives detailed descriptions of (1) twentieth century pieces that were specifically commissioned for the concours and (2) twentieth century pieces selected, but not specifically commissioned, for the concours, that are not considered to be part of the standard oboe repertoire. A brief description of trends observed within this set of contest pieces follows the bibliography, along with appendices intended to facilitate more productive use of the bibliography.
ContributorsEthington, Charlotte (Author) / Schuring, Martin (Thesis advisor) / Micklich, Albie (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2020