An Embouchure Aid for Wind Musicians
(2023)
author(s): Giuseppe Sapienza
published in: KC Research Portal
Name: Giuseppe Sapienza
Main Subject: Classical Clarinet
Research Supervisor: Wouter Verschuren
Title of the Research: An Embouchure Aid for Wind Musicians
Research Question: Assessing whether playing a wind instrument can change tooth position and investigate the effectiveness of an embouchure support device to provide dental support.
This study was inspired by the author's personal experience of discomfort and pain while playing the clarinet and aims to investigate the potential relationship between dental health and clarinet playing, specifically the impact of the mouthpiece on tooth position and stability.
A literature review of previous studies on the connection between wind instruments and tooth movement was conducted. The author collaborated with two professional dentists to develop an embouchure support device called PlayAid. The device was prototyped and tested by the author with a positive outcome.
The study found a correlation between playing the clarinet and an increased risk of dental problems, including tooth mobility, erosion, and discomfort. The upper incisors were the most commonly affected teeth. The literature review showed that playing wind instruments can cause changes in tooth position, specifically an increase in overjet.
Based on the results of this study, it can be concluded that an embouchure support device, like PlayAid, can effectively provide dental support for players with dental problems but also for those who exclusively seek better embouchure comfort and sound quality.
The chosen format of a presentation will be a public exposition of the results of the research with a live demonstration of PlayAid.
Historical Clarinet Mouthpieces: An Analysis and Re-creation studyHistorical Clarinet Mouthpieces: An Analysis and 3D Re-creation study
(2023)
author(s): Sergio Sánchez Martín
published in: KC Research Portal
The mouthpiece of a clarinet plays a crucial role in sound formation and tuning, and there is still great potential for research within the field of historical clarinet mouthpieces.
This study explores the relationship between mouthpiece shape and performance practice in the first half of the 19th century when significant changes occurred in clarinet history. The author examines historical mouthpieces from various collections and creates 3D-printed replicas for experimentation. The research investigates how mouthpiece shape relates to changes in reed positioning and national styles, and how 3D printing technology can aid in understanding historical mouthpiece design.
The study finds evidence of a causal relationship between changes in reed positioning and mouthpiece geometry, especially reflected in the dimension of the mouthpiece window. The creation of a functional 3D-printed historical mouthpiece and experimentation with variations in shape shed light on how different parameters of the mouthpiece geometry affect the sound response. The research offers a useful tool for historical clarinet players to choose mouthpieces in a more historically informed way.
Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette
(2023)
author(s): Noa Meshulam
published in: KC Research Portal
Name: Noa Meshulam
Main Subject: Historical Clarinet
Research Supervisor: Wouter Verschuren
Research Title: Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette
Research Questions:
• How are the changes in the clarinet’s design and playing techniques, musical aesthetics, and taste being manifested in Amand Vanderhagen’s method from the first to last edition (1785-1819)?
• Has Vanderhagen changed his pedagogical model in the 34 years that passed between his first book and his last? If any changes occurred, what were the factors that contributed to that?
Summary:
During the last decades of the eighteenth century, the field of clarinet pedagogy started to blossom and rapidly developed alongside the publishing of the first comprehensive methods for the instrument. The earliest amongst these important treatises, Méthode Nouvelle et Raisonnée pour La Clarinette, by Belgian-French clarinetist Amand Vanderhagen, was published in 1785.
Throughout his lifetime, Vanderhagen edited and republished his method twice after the initial edition; In 1799, the Nouvelle Méthode de Clarinette, and in 1819, the Nouvelle Méthode de Clarinette Moderne à Douze Clés.
In this research, I demonstrate the ways in which the development of the clarinet and the changes in the musical culture in Paris affected, contributed to, and inspired Vanderhagen to modify his pedagogical model. In addition, I examine the ways changing musical aesthetics and styles are manifested throughout the three methods. During the process, I got the impression that Vanderhagen was extremely sensitive and attentive to the changes in the musical scene, as well as the advancements in the clarinet culture in Paris. Hence, between his three methods, I could spot several interesting changes in his approach, particularly in topics like embouchure, exercises, embellishments, etc.
With this comparison, I aimed to draw attention to a different thread that focuses on Vanderhagen’s approach to clarinet pedagogy in the late-eighteenth and early-nineteenth centuries, and appreciate the ways in which the instrument’s evolution contributed to the development of the method and practice of teaching.
Biography:
Noa Meshulam is an Israeli-Portuguese clarinetist specializing in historically informed performance. She earned her bachelor’s degree from the Jerusalem Academy of Music and Dance. During her bachelor studies, she participated in the Nazarian Excellence in Chamber Music Program and played with The Jerusalem Symphony Orchestra on several occasions. After graduating she moved to the USA to pursue her master’s degree at Indiana University and was awarded scholarship and fellowship grants. There, she also started studying historical clarinet with Eric Hoeprich, with whom she continued her second master’s studies at the Royal Conservatory in The Hague.
UNVEILING THE FOLK DANCE IDENTITY OF CARL NIELSEN'S CLARINET CONCERTO OPUS 57: A FYNSKE MODERNIST STORYTELLING
(2022)
author(s): Ettore Cauvin
published in: Codarts
Carl Nielsen's Clarinet Concerto Opus 57 is a work of a problematic nature for both performers and audiences, who always find it difficult to understand its rich yet intricate content. Despite copious written material, many interpretations are unfortunately significantly misleading because of the extreme technical difficulty of the music and the lack of information about the composer’s identity, especially concerning his production for clarinet and the distinct role of the instrument in Nielsen's life.
My research shows that the composer's roots, the development of his production and the uniqueness of Danish folklore and related dances uncover narrative levels which are fundamental to a correct reading, not only of this work but of Nielsen's music in general.
This study aims to create a multidisciplinary performance that combines the original score with dance and storytelling to enhance its peculiar characteristics, such as the bipolarity of characters and the intrinsic reminiscence of elements of Danish folklore within specific sections. Based on an extensive critical literature review and a fruitful expert consultation, I made analyses, charts and transcriptions, attaching explanatory video recordings as the basis of my work.
Thanks to my field research trip to Denmark, I started designing a new performance combining the folk-related investigation and the extra-musical elements linked to Nielsen’s identity, to both the musical interpretation and imaginative dance performance to show the bipolarity of characters as well as portray the inner storytelling.
The goal of my research here is not to demonstrate Carl Nielsen’s compositional willingness but to establish relations which can help the performer and the audience to connect the music to its vital folk heritage, extraordinary customised spirit and distinctiveness in both dance and storytelling.
The artistic result is, in fact, a new hybrid performance of the work which portrays the complex music more consciously and innovatively, combining an informed musical approach with an imaginative choreography and active interplay between the contrasting manic episodes and the homeward feeling of the heartening sections, letting the audience partake in the musical narration.
Despite the complex construction and demanding realisation of this kind of creative approach, I firmly believe that the result of this research makes an essential contribution to the understanding and interpretation not only of this work but of the music and identity of Carl Nielsen and the Danish musical tradition for the world of classical music and beyond.
Further research is needed to shed light on the relations between classical and folk music, within performing arts in general, to strengthen their essential role in today's society to make what is usually considered a niche more accessible to the public by exploiting its unique characteristics for a more sustainable artistic and social usefulness.
The discovery of Ludovicus Mirandolle’s manuscripts
(2022)
author(s): Stefan Woudenberg
published in: KC Research Portal
The discovery of Ludovicus Mirandolle’s manuscripts
From Xavier Lefèvre to Frédéric Berr: Clarinet instruction at the Paris Conservatory between 1795 and 1838.
(2021)
author(s): Théo Couillez
published in: KC Research Portal
Student Number
3258904
Supervisor
Bart van Oort
Title
From Xavier Lefèvre to Frédéric Berr: Clarinet instruction at the Paris Conservatory between 1795 and 1838.
Research Question
How to describe clarinet instruction at the Paris Conservatory between 1795 and 1838?
Summary
The Paris Conservatory was founded in 1795. Xavier Lefèvre (1763-1829) was one of the first clarinet professor to teach there, from 1795 to 1824. In 1802 he published an important clarinet tutor intended for study at the Conservatoire: Méthode de clarinette. Frédéric Berr (1794-1838) held the same position from 1832 to 1838. In 1836 he published a Méthode complète de clarinette and a Traité complet de la clarinette.
Thanks to these writings, it is possible nowadays to get an idea of the skills needed by a French clarinettist of the early 19th century to play the music of his time. The aim of this research is thus to describe the main aspects of performance practice during the chosen period. Many of these aspects are not limited to the clarinet. Consequently, other methods for singing or for other instruments related to the Conservatory, have been studied to provide a broader perspective of performance practice at that time.
As the first decades of the 19th century witnessed important developments in clarinet making and instrumental technique, it has been essential to discuss this point in this research. However the central aspect of this work is musical expression, the ultimate goal of a performance. Phrasing, the variety of articulation and dynamics appear as essential tools for the performer who wants to communicate with the audience.
Short biography
Théo Couillez is a French clarinetist. He studied in his native country where he received the bachelor degree at the Pôle Supérieur Paris Boulogne-Billancourt in 2017. Eager to discover another approach to interpretation, he decided in 2019 to study for the Master degree in historical clarinet with Eric Hoeprich at the Royal Conservatory in The Hague. (Netherlands). Passionate about the symphonic orchestra, he took part to several orchestral academies such as the Youth European Orchestra Hector Belioz led by François-Xavier Roth and the Collegium Vocal Gent Academy led by Philippe Herreweghe.
Emancipation of the Clarinet (1720-1760)
(2018)
author(s): Adrianna van Leeuwen-Steghaus
published in: KC Research Portal
Name: Adrianna van Leeuwen-Steghaus
Main Subject: Historical Clarinet
Research Supervisor: Inês de Avena Braga
Title of Research:
Emancipation of the Clarinet 1720-1760
The transforming role of the two and three keyed clarinet in Sacred Music of the Late Baroque Period
Research Question:
Can we trace the Baroque Clarinet's role in Sacred Music and is there an obvious progression in the way composers wrote for the instrument beginning in the early 18th century to the instruments demise in the mid 18th century?
What was the Baroque Clarinet's role in Sacred Music? Did composers intentioanlly use this instrument and if so for what purpose?
Summary of Results:
When speaking about the clarinet, the first period of music we naturally associate with it is the Classical. However, few realise that the history of the clarinet begins much earlier in the Baroque, with an instrument that we would today describe as ‘primitive’. The Baroque clarinet was developed around 1700 in Germany. It's repertoire and legacy is confined to about 50 years of music history. Colloquially called the 'Mock Trumpet', the Baroque Clarinet is characterized by a bright and brilliant sound.
Some research has been done on the instrument already, particularily on its general history and repertoire. However what remains missing is uncovering the Baroque Clarinet's role in sacred music. Sacred music, particularily cantatas dominated musical life in the 18th century. Cantatas were performed every Sunday as well as on special feasts throughout the ecclesiastical calendar. Over the past two years, I have discovered a trove of cantatas containing parts specifically written for the Baroque Clarinet, some by well-known composers such as Telemann and Graupner and others unknown until now, such as Seibert and Kurz. Coincidentally, most of the composers are of German origin, employed by various cities and/or courts across the German-speaking lands.
This research examines the repertoire and attempts to find a progression in the clarinet's use and role. The instruments characteristic timbre meant it shared a symbiotic relationship with the trumpet, but did it ever shed its trumpet association and find its own voice? Through analysis of the various cantata parts, I uncover that the clarinet was in some ways the 'perfect compromise'; able to sound brassy and brilliant when required, while also able to produce a sweet and singing tone. The clarinet was also techinically more capable then its trumpet counterpart, because it was less confined to the harmonic series and able to play quicker notes melodically with more stepwise intervals.
In November 2017, the Royal Consrvatorie's Early Music Department premiered two of Telemann's cantatas with clarient parts; Lobet den Herrn TWV 1:1061 and Der Tod ist verschlungen in den Sieg TWV 1:320.
Biography:
Adrianna van Leeuwen-Steghaus, is a Canadian clarinettist specialising in historical instrument performance. She is a member of two successful chamber ensembles, the Swedish based trio Boxwood & Bows and the Dutch based duo The Küffner Gals. Adrianna graduated with distinction from the University Of Calgary (CAN), obtaining her Bachelor’s degree in modern clarinet performance. She moved to the Netherlands in 2012, to complete a second Bachelor’s degree in Historical Clarinet and Chalumeaux at the Koninklijk Conservatorium in Den Haag. Currently, she is busy completing her Master’s degree and thesis under the tutelage of Professor Eric Hoeprich in the Netherlands.
Josef Beer - The perfect clarinetist
(2017)
author(s): Maryse Legault
published in: KC Research Portal
Name: Maryse Gagnon-Legault
Main Subject: Historical Clarinet
Research Supervisor: Wouter Verschuren
Title of Research: Josef Beer - The complete clarinet virtuoso
Research Question:
What was the importance of the 18th century clarinetist Josef Beer and what made him stand out as the first international virtuoso on the clarinet?
Summary of Results:
The history of music is punctuated by the rise of crucial players who, by force of skills, influenced the work of composers, brought their instrument to technical improvement, pushed the boundaries of musical possibilities or just popularized a specific way of playing. One player did all those things at the end of the 18th century with the use of his instrument, the clarinet. Although mentioned in all history books about the clarinet, today’s scholars have done little research on Josef Beer. However, when looking closer at Beer’s life, repertoire and works, we notice how much he had the chance to be at the right place at the right moment. A known teacher of many of the greatest clarinet virtuosi, such as Michel Yost and Heinrich Baermann, he had influenced a generation of young musicians, popularizing his instrument all over Europe with his extensive tours. But what do we really know about Josef Beer and what made him stand out to become such an influential musician?
This research is about the life and works written for and by this intriguing man, as well as a reflection on the general implication of the soloist in clarinet concerti and how the music he played became extremely personal, by the addition of unique ornamentation and variations of the “skeleton” - the score - made by the composer. Mainly biographical and historical, this work aims also to approach Beer through the performances of works by composers gravitating around him, including his own compositions.
Biography:
Maryse Legault is currently pursuing a Master’s degree at the Koninklijk Conservatorium Den Haag in historical clarinets in the class of Eric Hoeprich. During her studies in the Netherlands, Maryse has had the opportunity to perform with many ensembles as a soloist, as well as an orchestral and chamber musician, in various countries including France, Belgium, Germany, The Netherlands and Russia. Curious to approach different repertoires, she focuses her research around the role of late 18th-century clarinet soloists and the birth of the pre-romantic German school of clarinet playing. Maryse holds a bachelor degree from McGill University in Montreal and plans to pursue doctoral studies next year in order to deepen her research experience.
The Iwan Müller system on the clarinet
(last edited: 2024)
author(s): Justin Coste
This exposition is in progress and its share status is: visible to all.
In the development of the clarinet a multitude of different system has been develop. All of them trying to extract the best of the instrument from different side, the ease, the balance the projection and more, all of these criteria to give more horizon to the clarinet.
Here we gonna talk about the development of the clarinet by Iwan Müller between around 1800 and 1850.
from what it come from, to it next evolution.
The discovery of Ludovicus Mirandolle’s manuscriptsopen exposition comments (0)