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dc.contributor.advisorEwin, Elizabethen
dc.contributor.authorWhittaker, Craig J.
dc.creatorWhittaker, Craig J.en
dc.date.accessioned2017-07-26T16:00:11Z
dc.date.available2017-07-26T16:00:11Z
dc.date.issued1988
dc.identifier.urihttp://hdl.handle.net/10150/624878
dc.description.abstractThe purpose of this study is to provide historical information, analytical material, and to discuss performance problems and teaching techniques relative to the Concertino da Camera by Jacques Ibert. A number of articles have been written concerning the premiere date and the necessity for the saxophonist to perform certain passages in the extreme high register of the instrument. The known arguments will be presented and discussed. The main purpose of this study is to examine and offer solutions to challenging performance situations which both teachers and performers encounter during study of the Concertino. A Technical Problems List was constructed and possible solutions are discussed based upon a survey of professional saxophonists and the performing experience of the researcher. The survey results have proved invaluable and many references are made to the practice methods of the survey respondents. The Concertino da Camera was selected for this study because of its musical value, frequency of performance, level of difficulty and appropriateness for educational use. In a survey conducted in 1973 by Cecil Gold, 120 professional saxophonists were requested to list examples of repertoire which they have students perform. The Concertino was listed as the fourth most frequently chosen work at the undergraduate level and the first choice at the graduate level, and is recognized as one of the most musically rewarding works in the solo literature for the saxophone. Two texts by Teal and books by Farkas and Gold served as primary reference material as the researcher identified and offered solutions to performance challenges during construction of the performance analysis. Two books, by Pottle and Stauffer, which discuss the intonation problems of wind instruments, were also helpful. In tracing the history of the Concertino, the researcher found books by Hemke and Rousseau, and articles by Rascher to be helpful. The Concertino da Camera, written in 1935, is representative of the most prolific period of Ibert's artistic production. In Chapter 1, this period and the history of the Concertino are examines. A discussion of the formal structure followed by a description of the music will be given in Chapter 2. Problems of technique, intonation, tonal matching, articulation, rhythm, range and special fingerings will be detailed in Chapter 3. The writer feels that the Concertino da Camera is an outstanding composition which is deserving of reputable performances. It is hoped that the results of the research will benefit the educator and performer of this challenging composition.
dc.language.isoen_USen
dc.publisherThe University of Arizona.en
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en
dc.subjectlecture recital documenten
dc.subjectIbert, Jacques, 1890-1962. Concertino da camera.en
dc.titleA study and performance analysis of Jacques Ibert's Concertino Da Camera for alto saxophone and eleven instrumentsen_US
dc.typetexten
dc.typeDissertation-Reproduction (electronic)en
thesis.degree.grantorUniversity of Arizonaen
thesis.degree.leveldoctoralen
thesis.degree.disciplineGraduate Collegeen
thesis.degree.disciplineMusicen
thesis.degree.nameD.M.A.en
dc.description.noteLecture Recital Document (Digitized from holdings at the Fine Arts Library, University of Arizona Libraries)en
dc.identifier.callnumber1988 WHI
refterms.dateFOA2018-08-14T04:01:22Z
html.description.abstractThe purpose of this study is to provide historical information, analytical material, and to discuss performance problems and teaching techniques relative to the Concertino da Camera by Jacques Ibert. A number of articles have been written concerning the premiere date and the necessity for the saxophonist to perform certain passages in the extreme high register of the instrument. The known arguments will be presented and discussed. The main purpose of this study is to examine and offer solutions to challenging performance situations which both teachers and performers encounter during study of the Concertino. A Technical Problems List was constructed and possible solutions are discussed based upon a survey of professional saxophonists and the performing experience of the researcher. The survey results have proved invaluable and many references are made to the practice methods of the survey respondents. The Concertino da Camera was selected for this study because of its musical value, frequency of performance, level of difficulty and appropriateness for educational use. In a survey conducted in 1973 by Cecil Gold, 120 professional saxophonists were requested to list examples of repertoire which they have students perform. The Concertino was listed as the fourth most frequently chosen work at the undergraduate level and the first choice at the graduate level, and is recognized as one of the most musically rewarding works in the solo literature for the saxophone. Two texts by Teal and books by Farkas and Gold served as primary reference material as the researcher identified and offered solutions to performance challenges during construction of the performance analysis. Two books, by Pottle and Stauffer, which discuss the intonation problems of wind instruments, were also helpful. In tracing the history of the Concertino, the researcher found books by Hemke and Rousseau, and articles by Rascher to be helpful. The Concertino da Camera, written in 1935, is representative of the most prolific period of Ibert's artistic production. In Chapter 1, this period and the history of the Concertino are examines. A discussion of the formal structure followed by a description of the music will be given in Chapter 2. Problems of technique, intonation, tonal matching, articulation, rhythm, range and special fingerings will be detailed in Chapter 3. The writer feels that the Concertino da Camera is an outstanding composition which is deserving of reputable performances. It is hoped that the results of the research will benefit the educator and performer of this challenging composition.


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