The learning and performance practices of the chalumeau: A practice-led autoethnography

The chalumeau, a forerunner of the modern clarinet, has been well researched in terms of its history, repertoire, and construction. However, artistic research centred on chalumeau learning and performance practices, particularly in South Africa (SA), is scarce. Compared to other Baroque woodwind instruments, clear guidance on chalumeau playing techniques remains very limited. The aim of this study is to explore, from a performer’s perspective, the learning, skill acquisition, and performance practices of the chalumeau. Stylistically grounded in Historically Informed Performance Practice (HIPP), the researcher employs a critical reflective process to document and interpret his experiences of learning and performing on the chalumeau. The research investigates how a clarinettist navigates learning to play the chalumeau, addressing technical, expressive, and interpretative challenges. It also examines how the researcher’s viewpoint as a SA postgraduate clarinet student shapes the study’s contributions to artistic research. The qualitative practice-led study was conducted using critical reflection and autoethnography. The researcher documented his experiences of chalumeau learning and performing, gathering data through journal entries, video recordings, audio documentation, and personal reflections. The findings are presented as an autoethnographic narrative, organised into 12 descriptive vignettes, capturing key learning moments, challenges, and artistic discoveries. The research demonstrates that transitioning to the chalumeau requires comprehensive understanding and application of historical performance practices, embouchure adaptation, fingerings, transposition skills, intonation awareness, and stylistic interpretation. The autoethnographic approach facilitated a deepening of artistic self-awareness and nuanced approaches to artistic praxis. The study provides insights on chalumeau performance practice that may inform pedagogy, historical clarinet studies, and the broader field of HIPP. Additionally, the research showcases the effectiveness of practice-led autoethnography in artistic research, highlighting its potential for enhancing performer agency and reflexivity in music performance research. The results illustrate the importance of collaborative musicking for more meaningful knowledge generation, optimal learning, and improved skill acquisition in music learning and performance.

Grantor dc:publisher

Stellenbosch : Stellenbosch University

Year dc:date.issued

2025

Author dc:creator

• Cyster, David Peter

Advisors dc:contributor.advisor

• Rennie-Salonen, Bridget
• Dippenaar, Erik

Repository record dc:identifier.uri

https://scholar.sun.ac.za/handle/10019.1/134926

OAI identifier oai:identifier

oai:scholar.sun.ac.za:10019.1/134926