Suchergebnisse

This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.

El presente artículo muestra los elementos formativos imprescindibles para que los docentes de clarinete puedan responder adecuadamente a los objetivos de las Enseñanzas Elementales y a los diversos problemas de aprendizaje tan presentes en las aulas. Se ha partido de una revisión legislativa sobre didáctica como punto de partida para, posteriormente, centrarnos en las características metodológicas que deben formar parte del proceso de enseñanza/aprendizaje en las Enseñanzas Elementales de Clarinete.

Ecto was started and abandoned in 2009, but revisited in 2013 when an opportunity arose with Scotland's Red Note Ensemble in June. This is the programme note for the premier at Sloan's in Glasgow: I was not certain if Ecto would ever be performed, and I am delighted to be able to resurrect it for Red Note. It is largely a study piece, dating from the final phase of my PhD when I was attempting to find a somewhat less laborious process for my compositions. The problem seemed to come down to the idea of personal reflection. My tendency to turn judgment inward, to examine and reexamine both my motivations and my justifications for aesthetic decisions, has at times led me to the brink of voicelessness. I am still, quite simply, too worried about what I think of myself. Ecto, according to its etymology, was an attempt to remove the inwardness and be, as it were, "ective" (Ecto, from Gr. Ektos, meaning outside or external), or to switch off the internal hung parliament and pronounce something in a downright manner. Given this revival, the piece may turn out to be the first of a folio of small chamber pieces, an example of which can be found in my ongoing collection of Coyote Nocturnes.

Over the course of a playing career that spanned roughly fifty years, John Mahon (pronounced M'hone) introduced and popularized the clarinet as a solo and chamber instrument throughout Britain. As well as performing extensively in London, Mahon also travelled to many provincial towns and cities, bringing both the clarinet and his musical talents to the attention of audiences. This article presents biographies of John and William Mahon, and information on the Mahon family, many of whom were outstanding musicians. Like several musicians of the late eighteenth century, John Mahon was active as a military musician, likely beginning as a youth and extending to about 1781. By this time, he was actively performing in London orchestras during their regular seasons and continued to augment his income by travelling to various provincial towns to play in concerts and music festivals, over 800 of which are documented in newspaper advertisements and other published sources. His playing was of a high standard and he achieved wide recognition as a clarinettist. The article also discusses John Mahon as a military band musician; as an orchestral musician; as a soloist, accompanist and chamber musician with reference to contemporary reviews; Mahon's published music and clarinet tutor; illustrations of clarinets and a basset horn that he would have played during his career; Mahon as a teacher; later life; and influence and legacy. This is followed by a section on William Mahon's concerts and reviews, and a conclusion.

The article analyzes historical foundations of the teaching style of playing clarinet in the Chinese system of music education, the main aspects of teaching clarinetists in China in diff erent periods are also presented. Th e key representative fi gures who played a big role in the development of the clarinet art in the Celestial Empire and made a particularly valuable contribution to the formation and professionalization of the Chinese national clarinet school are characterized. Th e key problems of professional clarinet players's training in China. Th e possibilities of using the Russian pedagogical experience in improving the methodological basis for the professional clarinetists's training in China are assessed.

The wind wooden reed instrument clarinet is one of the most common of its group not only in Western European musical culture, but also in the East Asian region in China. Within the framework of this article, the goal is put forward to reveal the problems of creating their own methods of clarinet creativity by Chinese composers and performing musicians in a historical retrospective, as well as to formulate and evaluate possible prospects for increasing the nationalization of clarinet art in the Middle Kingdom.

En el clarinete, la interpretación del doble picado resulta compleja especialmente a altas velocidades. El objetivo es utilizar las TIC para medir la mejora de la velocidad del doble picado en este instrumento. Se realiza una prueba piloto con 13 participantes con el Título de Enseñanzas Profesionales de Clarinete. Se grabaron 2 ejercicios en dos ocasiones. La primera grabación pretendía medir la velocidad máxima a la que los participantes interpretaban los ejercicios con doble picado. Posteriormente, se facilitaron 29 piezas durante 8 semanas. Finalmente, se realizó una última grabación para observar si existía mejoría. Las herramientas tecnológicas utilizadas fueron ZyMi (para las grabaciones y el estudio), Audacity (para realizar las grabaciones), Sibelius7 (para escribir ejercicios) y Sonic Visualiser (para asegurar la calidad de la técnica). Las velocidades iniciales fueron bastante bajas puesto que a un tempo mayor se perdía calidad en la técnica. En cambio, en la última grabación, 5 de los participantes habían doblado las velocidades y 4 las triplicaron. Además, los Participantes 3 y 5 aumentaron tres veces la velocidad en el primero de los ejercicios y la doblaron en el segundo. Por su parte, el Participante 13 aumentó desde negra igual a 13 hasta negra igual a 105 en el primer ejercicio y hasta 85 en el segundo con apenas unas semanas de estudio. Se puede concluir que el uso de las TIC ayudó a los participantes a aumentar la velocidad sin errores de ejecución. Además, mejoraron en estabilidad el tempo al utilizar ZyMi desde velocidades bajas.

La formación instrumental ha tomado importancia dentro de la Educación Musical costarricense en los últimos tiempos, sobre todo con el auge de escuelas de música y academias en diversas comunidades a lo largo del país. El clarinete ha sido un instrumento de importancia en la vida musical de Costa Rica, desde la música militar hasta los ámbitos folclóricos y académicos. Tomando en cuenta los inicios de las actividades docentes instrumentales, en Costa Rica puede apreciarse que en el periodo de tiempo anterior a finales del siglo XIX muchas prácticas docentes se realizaban de forma empírica, situación que cambia posteriormente con la fundación de los primeros centros de enseñanza musical del país.

El triple picado es una técnica que instrumentos como el clarinete no suelen utilizar, pero que consiste en tocar notas picadas a mucha velocidad. El instrumento parece ofrecer resistencia ante la necesidad de la vibración de la caña para producir sonido. El objetivo es demostrar que la técnica puede interpretarse a altas velocidades en este instrumento gracias a las TIC. Se recogió una muestra de 13 clarinetistas con nivel mínimo de Grado Profesional. La prueba inicial consistió en grabar 2 ejercicios (con Audacity). Esta se repitió tras 6 semanas de estudio para comprobar si existía evolución. En este periodo, los participantes estudiaron 11 ejercicios (escritos con Sibelius7) utilizando el software ZyMi. Se mantuvo la calidad examinando los espectrogramas con Sonic Visualiser. El resultado obtenido en la primera grabación fueron velocidades muy bajas (entre 32 y 75). Los participantes encontraron dificultades principalmente en los dos registros superiores. En cambio, en la última grabación, 7 clarinetistas lograron duplicar los tempi, 5 la quintuplicaron y sólo 1 la disminuyó en el segundo ejercicio porque no pudo dedicar tiempo en la última fase de estudio a practicar la técnica. Además, mejoraron colateralmente otros aspectos como la estabilidad de la pulsación al utilizar el software ZyMi y mejoraron la emisión de aire y la sonoridad al trabajar con Sonic Visualiser. Finalmente, del estudio se concluye que el aumento de tempo de la técnica sí es posible al utilizar las TIC pues permite medir exactamente cuánto asciende la velocidad y la calidad de los ejercicios.

The eight premier United States service bands provide numerous job opportunities for the prospective professional musician and offer financial stability, job security, and an outlet to perform at a superior level in a variety of settings. Although many published resources exist to prepare candidates for orchestral auditions, few published resources address the audition process and literature for the premier U.S. service bands. This study examines the audition process at these organizations through written correspondence with past and present audition coordinators. It addresses topics such as the system of rounds, the personnel that comprise committees, literature selection criteria, desirable traits of candidates, the role of sight-reading in the audition, and the relationship of each band's process to its mission. In order to compile a list of significant wind literature including clarinet, a written survey was distributed to a cross-section of conductors and clarinetists from universities and military bands. The survey requested identification of five to ten works from three categories including original works, marches, and transcriptions of orchestral music deemed essential for audition preparation for these bands. Fifteen of the most frequently identified works are excerpted, and accompanied by a technical and stylistic discussion. Appendices include sample audition lists from 2005-2010 and a discography of premier U.S. service band recordings of excerpted literature. These resources should aid candidates in preparing for these auditions more comprehensively than previously possible, while reducing the amount of time required to locate such reference materials.