Doctor of Musical Arts, The Ohio State University, 2022, Music
The following document discusses Katherine Hoover's Clarinet Concerto (1987), while setting the Concerto in context with the rich history of women in classical music, jazz, and feminist theory. It traces the intersection of history, feminism, and genre, discussing feminist theory and its application to music. Flutist and composer Katherine Hoover (1937-2018) was a world-renowned composer, known for her elegant and intense style for wind instruments, primarily the flute. Her repertoire for clarinet is not only versatile, but virtuosic, and explores a wide variety of genres, from jazz to Greek folk song. The Clarinet Concerto (1987), written for jazz clarinetist Eddie Daniels, is a powerful work, which presents challenges both with traditional performance and jazz-based improvisation. An in-depth biographical sketch of Katherine Hoover is provided, documenting her development from a young student with limited music education, into a world-renowned artist and composer. Also included is a brief history of women composers and performers in both classical music and in jazz, along with biographical sketches of historic jazz clarinetists and their impact on the genre. Finally, the Clarinet Concerto is explored as a performance guide, including tips on improvisation for those who might be uncomfortable with the medium. The Clarinet Concerto is promoted herein for clarinetists, not only for its invaluable musical elements that blend jazz and classical sounds, but for its reflection of a feminist work that has helped to shape music today.
Committee: Caroline Hartig (Advisor); Russel Mikkelson (Committee Member); Karen Pierson (Committee Member); Graeme Boone (Committee Member)
Subjects: Music; Womens Studies