▼ Krzysztof Penderecki’s turn in the last three decades to a more approachable style can be seen most clearly in his chamber music. Although larger works like his Credo and Seven Gates of Jerusalem have received more recent attention, Penderecki himself points to chamber music as his most fertile area of innovation. This document compares the Clarinet Quartet and Sextet to his other recent works, both chamber and large-scale. It uses motivic and intervallic analysis to expose the underlying structure of the works, and then compares the compositional fabric of these two pieces to other recent chamber works. It also situates these works within the larger picture of Penderecki’s later output and argues that the Clarinet Quartet is a key work that marks a turning point in his later “synthesis” period. Advisors/Committee Members: Ng, Samuel.

▼ Sonata Theory recognizes five types of sonatas based on their rotational designs. The first movement of most eighteenth-century concertos is classified as a Type 5 sonata (concerto movement) and is the most complicated sonata design due to the great variation that exists among individual Type 5 movements. This document contains a brief introduction to Hepokoski and Darcy’s Sonata Theory and a summary of the Type 5 sonata. Chapters two, three, and four are extensive studies and analyses of the clarinet concertos composed by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber. Comprehensive comparisons of these concertos are provided at the end of chapters three and four. Diagrams 2, 3, and 4 are the result of examining these concerto movements. They indicate the sections, zones, and modules of a sonata form in the movements. Appendix A is a list of terms and abbreviations that are used in the analyses. In addition, Hepokoski and Darcy’s Type 5 sonata default settings and options are included in Appendix B. Advisors/Committee Members: Cahn, Steven.

▼ This document discusses the pedagogical pieces using extended techniques for the clarinet that I have commissioned from Canadian composers. My intention was to develop a resource to introduce the undergraduate clarinetist to extended techniques through works intended for performance. While they focus on one technique per piece and minimize the technical challenges, these pieces nevertheless explore diverse techniques and are musically interesting for performers and audiences. The techniques, pieces and composers included in this collection are: timbre trills in “Teco-Teco” by Sylvia Rickard; microtones and vibrato in “A Micro Tale” by Richard Désilets; glissando in “Sometimes Doing Nothing Leads to Something” by Shane Krepakevich; multiphonics in “Speak Out” by Chan Ka Nin; vocalization while playing in “All Good Children” by Lori Freedman; key sounds in “Clap” by Robert Lemay; air sounds in “Almost There” by Don Ross; flutter tonguing in “flutterby” by Joel Hoffman; double tonguing in “VAV” by Jérôme Blais; playing pieces of the clarinet in “Duo for one, (hand)” by Elma Miller; buzzing into the clarinet in “Leaving” by Evan Ware; and moving while playing in “Nimbly” by Melissa Hui. Because it consists of études intended for performance by a diverse group of artists, this collection provides a new approach for students and teachers to study extended techniques. This document provides commentary and context for these new works that will give teachers and students guidelines about how best to use this new resource. In each chapter, the first section considers the composer’s other pieces for clarinet, uses of extended techniques, and pedagogical works as well as the composer’s compositional process. The second section explains the extended technique, including its sound, execution, potential, notation, history, and pedagogy. The third section is a practical guide to learning and teaching the piece in the collection. It also discusses how learning these techniques and playing these pieces may benefit other aspects of technical and musical development. This contextual information will be useful both to students and teachers in not only learning the pieces in this collection, but also investigating other contemporary works and techniques. Advisors/Committee Members: Hoffman, Joel.

▼ Carl Baermann’s (1810—1885) legacy continues to influence modern clarinetists. He was the son of Heinrich Baermann (1784—1847), the clarinetist for whom Carl Maria von Weber (1786—1826) composed his clarinet works. Lesser known as a performer than his father, the younger Baermann influenced clarinet history through his pedagogical writings, editorial contributions, compositions, and mechanical design of the clarinet. During the years 1864—1875, he wrote a clarinet manual which discussed his concept of tone production, technique, and clarinet equipment. He worked with publisher Robert Lienau to produce his versions of Weber’s clarinet works. He primarily employed his father’s performance notes of these works to produce the Baermann editions of the two Weber Concertos and Concertino. He sought to document his father’s performance practice by having all of his father’s additions such as articulations, flourishes, and cadenzas published in one edition. Baermann also worked with the woodwind maker Georg Ottensteiner (1815—1879) to produce the Baermann-model clarinet, of which the modern German clarinet is a direct descendant. Baermann shaped clarinet history through his multiple contributions to many subjects of clarinet research, production, and performance. Advisors/Committee Members: Kregor, Jonathan.