Note:This thesis is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of a recital of music related to the thesis topic.

Files in this item

FilesDescriptionFormat

application/pdf

application/pdfEvelyn Moria Tunison_thesis.pdf (45MB)Restricted to U of Illinois
(no description provided)PDF

Description

Title:Jean Xavier Lefèvre's Méthode de Clarinette and Clarinet Concerto no. 3 in historical and pedagogic context
Author(s):Tunison, Evelyn Moria
Advisor(s):Harris, J. David
Contributor(s):Harris, J. David; Bashford, Christina; Dee, John; McGovern, Timothy; Peterson, Elizabeth
Department / Program:School of Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Subject(s):Jean Xavier Lefèvre
Méthode de Clarinette
Clarinet Concerto no. 3
classical clarinet
Amand Vanderhagen
Johann Georg Heinrich Backofen
Anweisung zur Klarinette
Méthode Nouvelle et Raisonnée pour la Clarinette
Abstract:Jean Xavier Lefèvre wrote his Méthode de Clarinette in 1802 for use at the Paris Conservatoire. This clarinet tutor was influenced by its precursor, the Méthode Nouvelle et Raisonnée pour la Clarinette (1785) by Amand Vanderhagen, which was the first clarinet tutor. From the Méthode Nouvelle et Raisonnée pour la Clarinette, Lefèvre pulled the formatting and topics for his own tutor. Despite this use of Vanderhagen’s tutor as a template, the Méthode de Clarinette surpasses what the Méthode Nouvelle et Raisonnée pour la Clarinette offers in terms of music, exercises, detailed instructions, topics, beginning student instructions, and development of musicality. The same categories that progressed Lefèvre’s Méthode de Clarinette from Vanderhagen’s tutor can be seen in the Anweisung zur Klarinette (c. 1803) by J.G.H. Backofen, which was the first German clarinet tutor. Backofen visited Paris for six years and during that time he had a lesson with Lefèvre, played duets with him, and even procured jobs through Lefèvre. These years spent in contact with each other influenced Backofen’s Anweisung zur Klarinette. Backofen builds on Lefèvre’s tutor, further simplifying instructions for beginning students, replicating Lefèvre’s progressively difficult music and exercises, providing detailed instructions, and incorporating musicality. Included in this paper is a discussion of Lefèvre’s third concerto (c. 1783-1790), which has been thought to be lost as late as 1980. This third concerto is still in existence and reflects Lefèvre’s teaching and musical philosophies that would later be written down in the Méthode de Clarinette. Writing about this concerto, transcribing the orchestra parts for piano, and showing its relation to the Méthode de Clarinette, along with my English translation of the Méthode de Clarinette brings this tutor to a new, modern audience while highlighting the historical influence it has had — from expanding on the first clarinet tutor, to influencing the first German clarinet tutor, to the similarities between Lefèvre’s methods and the methods used to teach clarinet students today.
Issue Date:2019
Publisher:School of Music, College of Fine and Applied Arts, University of Illinois at Urbana-Champaign
Genre:Dissertation / Thesis
Type:Text
Image
Language:English
URI:http://hdl.handle.net/2142/103436
Rights Information:Copyright 2019 Evelyn Moria Tunison
Date Available in IDEALS:2019-04-12


This item appears in the following Collection(s)

Item Statistics