I. Solo Recital: Saturday, November 1, 2014, 5:30 p.m., Organ Hall. Three Pieces, Op. 30 (Max Laurischkus); Concerto for Clarinet (Henri Tomasi); Carnival of Venice (Paul JeanJean); Press Release (David Lang).
II. Solo Recital: Friday, April 17, 2015, 7:30 p.m., Recital Hall. Fantasy-Ballet (Jules Mazellier); Concertino, Op. 15 (Jeanine Rueff); Klezmer Rhapsody (Paul Steinberg); Quirk for bass clarinet and computer (Eric Honour); Clarinet Concerto (John Veale).
III. Solo Recital: Saturday, March 19, 2016, 1:30 p.m., Organ Hall. Clarinet Concerto in A Major, K. 622 (Wolfgang Amadeus Mozart); Bucolique for Clarinet and Piano (Eugene Bozza); Pastorale (Souvenirs du Frög) (Daniel Dorff); Industrial Strength for Bass Clarinet and Piano (Kenji Bunch).
IV. D.M.A. Research Project. THE TRAINING OF JAZZ AND POPULAR STYLES IN MULTIPLE WOODWIND DEGREE PROGRAMS, (2017).
This project attempts to determine if graduate students in multiple woodwind degree programs are provided adequate access to jazz training or performance opportunities as part of the degree program. To meet the professional expectations in the field, multiple woodwind instrumentalists not only need to be able to play several woodwind instruments well, but also in a wide range of styles. In particular, players must be literate in jazz performance styles, primarily to be able to play in swing or big band style but also, occasionally, to improvise.
Degree requirements that were available online from twenty-four universities that offer a graduate degree in multiple woodwinds were examined, in addition to the background and areas of expertise of some of the woodwind faculty. Interviews were conducted of four woodwind doublers who have played in pit orchestras for Broadway-type shows to learn how they became qualified for that work. In all cases, no identifying information of the players and university programs were shared in the reporting of this study.
University websites tend to outline only partially the curricular requirements of the Master’s level multiple woodwind degree, but it was determined that jazz saxophone is not consistently included as part of the multiple woodwind curriculum. Those interviewed all emphasized that the ability to perform in multiple styles and to perform adequately the stylistic interpretation of written notation in a convincing jazz style is an essential expectation of those jobs. Interviewees recalled that little to no jazz training was accessible in their Master’s degrees, and those who were most successful playing in a jazz style had previous access to jazz performance opportunities in their undergraduate degrees. Transcripts of the four interviews are provided as an appendix.
|Commitee:||Barret, Ashley, Douglas, Gavin|
|School:||The University of North Carolina at Greensboro|
|School Location:||United States -- North Carolina|
|Source:||DAI-A 78/11(E), Dissertation Abstracts International|
|Subjects:||Music, Music education|
|Keywords:||Broadway, Doubling, Jazz, Multiple woodwinds, Musical theatre|
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