| Popis: |
Due to its popularity in the swing era and its established reputation as an orchestral, chamber, and solo instrument, the clarinet played an important role in continuing the fusion of jazz and classical music in the decades that followed the initial explosion of the jazz influence on American and European cultures. Benny Goodman, Artie Shaw, and Woody Herman became famous for their roles as bandleaders and clarinetists of the swing era; they also expanded the repertoire for the clarinet by commissioning and inspiring many works with clarinet as solo instrument. The fame of these musicians, along with the freshness and popularity of jazz, attracted the attention of composers of art music at the time. The commissions of these swing era clarinetists are partially responsible for a significant expansion of the clarinet repertoire during the second half of the twentieth century.The use of jazz elements in the works composed for these clarinetists make them useful as clarinet repertory pieces. Study and performance of these works allow classically trained clarinetists the opportunity to expand their techniques. Through the use of extended techniques such as growls and glissandi, new scale patterns, complex rhythms, and tone colors that move beyond those needed for Classical and Romantic period chamber works, the clarinetist becomes a well-rounded musician.This document explores significant works written for the clarinet in the late 1940s; specifically, those commissioned by Benny Goodman, Artie Shaw, and Woody Herman. The elements of jazz used in concert works by both American and European composers reveal the influence that jazz had on compositional tradition at the time will be illuminated. In addition to establishing background for each of the swing era’s most prominent clarinetists and each composer’s hand in the jazz world, this research includes context and analyses of Béla Bartók’s Contrasts, Darius Milhaud’s Concerto for Clarinet and Orchestra, Aaron Copland’s Concerto for Clarinet and Orchestra with Harp and Piano, Norman Dello-Joio’s Concertante for Clarinet and Orchestra, Igor Stravinsky’s Ebony Concerto, and Leonard Bernstein’s Prelude, Fugue, and Riffs. |
