Clarinet and harp duets are not performed very often, as the repertoire list is rather meager. They are a product of modernity, with the first significant number of published duets arriving around the turn of the twentieth century, with the piano having already been a very popular partner for the clarinet for 150 years. I have chosen to help solve this problem by providing an analysis of a modern clarinet and harp duet, well known in neither the clarinet nor the harp field. Through an interpretation of Jean-Michel Damase’s Sonate pour Clarinette et Harpe, I focus on the compositional style of Damase to help me provide a deeper understanding of the piece to ultimately bring the clarinet and harp closer to a standard compositional combination.
In a semiotic interpretation, I use the triadic model of Charles Sanders Peirce (representamen, interpretant, and object) to interpret the sign, which I designate as Damase’s compositional style. The union of these three parts provides meaning to the sign.
I use the compositional techniques common between various well-known composers and this sonata to conclude that Damase’s style is a conglomeration of these other composers’ styles. In this interpretation I provide an academic foundation for the compositional style of an obscure composer, and I provide a rich understanding of a complex piece that can hopefully inspire others to discover other clarinet and harp duets.
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|Commitee:||Brown, Richard, Goode-Castro, Helen|
|School:||California State University, Long Beach|
|Department:||Bob Cole Conservatory of Music|
|School Location:||United States -- California|
|Source:||MAI 55/05M(E), Masters Abstracts International|
|Keywords:||Clarinet, Damase, Jean-Michel, Michael miller, Semiotics, Sonata for clarinet and harp, Sonate pour Clarinette et Harpe|
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