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Interpretation, pedagogy, and techni...

Ho, Kang-Kuo.

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Interpretation, pedagogy, and technique in clarinet repertoire as reflected in the practice of contemporary New York clarinetists.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Interpretation, pedagogy, and technique in clarinet repertoire as reflected in the practice of contemporary New York clarinetists./
作者:	Ho, Kang-Kuo.
面頁冊數:	184 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-09, Section: A, page: 3275.
Contained By:	Dissertation Abstracts International59-09A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9908327
ISBN:	9780599062207

Interpretation, pedagogy, and technique in clarinet repertoire as reflected in the practice of contemporary New York clarinetists.
Ho, Kang-Kuo.

Interpretation, pedagogy, and technique in clarinet repertoire as reflected in the practice of contemporary New York clarinetists. - 184 p.

Source: Dissertation Abstracts International, Volume: 59-09, Section: A, page: 3275.

Thesis (D.M.A.)--City University of New York, 1998.

This paper investigates the pedagogy and background of a few famous clarinetists in the Greater New York area. They are: Stanley Drucker, Anthony Gigliotti, David Glazer, Alan Kay, David Krakauer, John Moses, Charles Neidich, Kalmen Opperman, and Bernard Portnoy. My primary goal is to compare different interpretations of some nineteenth- and twentieth-century clarinet works. Secondarily, since clarinet techniques such as glissandi, double-tonguing, multiphonics, and circular breathing have been widely employed and extended in recent years, I want also to explore the influence on pedagogy that these clarinet techniques might have.

ISBN: 9780599062207Subjects--Topical Terms:

516178
Music.

Interpretation, pedagogy, and technique in clarinet repertoire as reflected in the practice of contemporary New York clarinetists.
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520 $a This paper investigates the pedagogy and background of a few famous clarinetists in the Greater New York area. They are: Stanley Drucker, Anthony Gigliotti, David Glazer, Alan Kay, David Krakauer, John Moses, Charles Neidich, Kalmen Opperman, and Bernard Portnoy. My primary goal is to compare different interpretations of some nineteenth- and twentieth-century clarinet works. Secondarily, since clarinet techniques such as glissandi, double-tonguing, multiphonics, and circular breathing have been widely employed and extended in recent years, I want also to explore the influence on pedagogy that these clarinet techniques might have.
520 $a An additional purpose of this project is to document current teaching methods and musical interpretations in New York, in comparison with past practices. Moreover, this dissertation compares the differences in pedagogy among clarinetists, and demonstrates the varied ways in which changes in historical perspective and modern compositional demands have influenced not only current clarinet pedagogy but also interpretation of solo repertoire in New York.
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