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Recital Report, Fae Patterson

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

Performance is vital to a musician and educator because through understanding and analysis of problems the teacher can better help his students. The specific problems for this performer and for this recital were: (1) The interpretation of the music according to the style intended by the composer, and (2) The mastery of the technic needed to overcome difficult passages.

The purpose of the musician was to prepare a recital which would demonstrate tone quality, control, phrasing, musicianship, and confidence in performance. The basic assumption was that the teacher-musician needs to demonstrate these qualities to enable him to more effectively work …

Recital Report, Dan I. Stowell

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

While preparing the master's recital the writer had three major objectives: a desire to perform music from the most important periods of clarinet literature; to demonstrate characteristics interpretations of music of each period including styles of phrasing and various types of articulation; to demonstrate the ability to control various technical, dynamic, and tone production problems on the clarinet.

The objectives of this paper are to trace briefly the historical development of the clarinet; to give a short history of each composer whose works were involved in the recital; to give an analytical review of each movement, including form and major …

A Comparison Of Three Teaching Procedures Used In The Development Of Improving Intonation In Clarinet Performance, K. Earl Ericksen

All Graduate Theses and Dissertations, Spring 1920 to Summer 2023

This study assessed the relative efficiency of three teaching procedures used in the development of improving intonation in clarinet performance. The three treatment procedures used included the Beat Method, the C. G. Conn Stroboscope and Johnson Intonation Trainer. During the six weeks study, all Ss participated in two forty-five minute lessons per week. Intonation procedures were studied for fifteen minutes each lesson while other playing problems were discussed for the remaining time. Instruction time totaled nine hours per group. All Ss continued class work with their school music teacher. The experimental design also included a No Contact Control …