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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

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
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

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
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Description
Symphonic Movement: On Works of H. P. Lovecraft is a single movement

composition for wind band lasting approximately 11 minutes. The instrumentation

for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass

clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto

saxophone, tenor saxophone, baritone saxophone, 4 horns,

Symphonic Movement: On Works of H. P. Lovecraft is a single movement

composition for wind band lasting approximately 11 minutes. The instrumentation

for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass

clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto

saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,

bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.

Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror

fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense

of creeping dread and terror in his stories. The composition evokes this dark

atmosphere and uses a combination of melodic, harmonic, and orchestrational

devices to imitate this ambience.

The primary musical material of the work is a melody consisting of all twelve

tones. The composition explores this melody through motivic development and

phrase segmentation derived from the source material. This heavy use of

chromaticism helps to create a dissonant and brooding atmosphere throughout. The

work fluctuates between soft, lyrical passages and loud, cacophonous sections. The

alternation of exposed melodic lines with large bombastic climaxes is a major

component of the overall structure of the composition.
ContributorsLamb, Christopher John (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2016