Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Master of Music (MM) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

A senior recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Bachelor of Music (BM) degree.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctorate of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

The lecture was given on September 25, 1989. The discussion dealt with the stylistic characteristics of music for clarinet by Ernesto Cavallini and included a performance of four romanzas: La Calma, Un Pensiero, L'Incudine, and Lontano dalla Patria. Cavallini was the foremost clarinet virtuoso of the nineteenth century as well as a prolific composer of music for his instrument. The works presented in the lecture represent Cavallini's proclivity for a performance style combining virtuosity with lyrical expression. Copies of the original publications of Cavallini's romanzas were obtained from the Biblioteca del Conservatory, "Giuseppi Verdi," Milan, Italy. In addition to the lecture recital, three other recitals for solo clarinet were given. The first recital was given on October 29, 1984, and included works by Carl Maria von Weber, Leslie Bassett, Halsey Stevens, and Carl Reinecke. The second recital was given on July 29, 1985, and included works by Bernard Heinrich Crusell, Halsey Stevens, and Johannes Brahms. The third recital was given on October 3, 1988, and included works by Saviero Mercadante, Eugene Bozza, and John Ireland. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the …

The dissertation consists of four recitals: one chamber music recital compiled from two years' series of chamber music performances in residence, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The Fifth and Sixth Clarinet Concertos by Johann Melchior Molter, begins with perhaps the first performance of the Concerto No. 4 in D Major, Mus. Hs. 337, for clarinet in D with orchestral accompaniment reduced for piano. Bibliographical, historical and technical information is marshaled to justify the solo designation of Badische Landesbibliothek concerto manuscripts 334 and 328 to D clarinet rather than clarino. An investigation into the formal and stylistic aspects shows these two questionable works to be comparable to the composer's other four clarinet concertos. The analysis is followed by a short discussion of the problems involved in the transcription and performance of the works. The lecture concludes with the first performance of the Concerto No. 6 in D Major, Mus. Hs. 328, for clarinet in D with orchestral accompaniment reduced for piano.

The lecture recital was given on July 25, 1977. Transcriptions and arrangements for clarinet and piano of nineteenth-century Italian opera were popular during the virtuoso wind era and are representative of an important phase in the history of clarinet playing. Arias of Rossini and Verdi and a fantasia based on Rigoletto were performed during the lecture recital. In addition to the lecture recital, three other public recitals were performed, including solo compositions for clarinet and chamber works including clarinet.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, Aaron Copland's Concerto for Clarinet, begins with biographical information, followed by a discussion of various other works of the composer and of important stylistic traits that are contained therein. After thus setting the Concerto in perspective to other major works, an investigation is made into various aspects of form and style which make the Concerto atypical in some respects to the composer t total body of works. Particular emphasis is given to rhythmic and melodic characteristics of the piece which are related to jazz and Latin-American popular music. The formal and stylistic analysis is followed by a discussion of problems involved in performing the Concerto with a piano reduction of the orchestral part, and the lecture concludes with a survey of interpretative problems posed by the work. At the conclusion of the lecture portion of the presentation, the Concerto was performed.

The dissertation consists of four recitals: repertoire consisting of solo compositions, music for clarinet alone, chamber music, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The D Major Clarinet Concerto by Theodor von Schacht, discusses background for the development of the clarinet in different pitches and gives pertinent bibliographical and historical information on the life and works of Theodor von Schacht. A formal and stylistic analysis is then followed by a short discussion of the problems involved in the transcription and performance of the work: possibly the first solo concerto ever written for the clarinet in A. The lecture concludes with the first performance of The D Major Clarinet Concerto for clarinet in A with orchestral accompaniment reduced for piano.