{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85791"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85791","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Selected Chamber Music of the Clarinetist/composer Eric Mandat: A Performer's Perspective","abstract":"Eric Mandat has established himself as one of the more highly regarded composers of new music for clarinet. He has done this primarily through performing his works around the world at clarinet and composer conferences. So far, his most well known works are for unaccompanied clarinet, although in recent years he has begun composing more for small ensembles that include one or more clarinets. In this paper I discuss three of Mandat's chamber music compositions--- 3 for 2 (for clarinet and percussion), So What Elsa's New? (for two clarinets), and One Liners (for three clarinets). These works, while employing extended techniques such as quarter tones and multiphonics, also use recognizable forms and clear rhythmic and melodic motives to make them accessible to the listener and the performer. A formal analysis of each work illuminates these three works, of which many clarinetists are unfamiliar, so that both performers and composers may gain further insight into new music for clarinet, and new chamber music in particular.","abstract_html":"Eric Mandat has established himself as one of the more highly regarded composers of new music for clarinet. He has done this primarily through performing his works around the world at clarinet and composer conferences. So far, his most well known works are for unaccompanied clarinet, although in recent years he has begun composing more for small ensembles that include one or more clarinets. In this paper I discuss three of Mandat's chamber music compositions--- 3 for 2 (for clarinet and percussion), So What Elsa's New? (for two clarinets), and One Liners (for three clarinets). These works, while employing extended techniques such as quarter tones and multiphonics, also use recognizable forms and clear rhythmic and melodic motives to make them accessible to the listener and the performer. A formal analysis of each work illuminates these three works, of which many clarinetists are unfamiliar, so that both performers and composers may gain further insight into new music for clarinet, and new chamber music in particular.","abstract_has_math":false,"creators":["Crookshank, Suzanne M."],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Von Gunden, Heidi"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":null,"date_issued":"10000-01-01","date_published":"10000-01-01","updated_at":"2026-07-22T22:26:25Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3290212"],"render_values":[{"text":"(MiAaPQ)AAI3290212","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85791","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Von Gunden, Heidi"]},{"key":"dc:creator","label":"Author","values":["Crookshank, Suzanne M."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["10000-01-01","2007","2015-09-25T22:54:01Z"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85791","(MiAaPQ)AAI3290212"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Eric Mandat has established himself as one of the more highly regarded composers of new music for clarinet. 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He has done this primarily through performing his works around the world at clarinet and composer conferences. So far, his most well known works are for unaccompanied clarinet, although in recent years he has begun composing more for small ensembles that include one or more clarinets. In this paper I discuss three of Mandat's chamber music compositions--- 3 for 2 (for clarinet and percussion), So What Elsa's New? (for two clarinets), and One Liners (for three clarinets). These works, while employing extended techniques such as quarter tones and multiphonics, also use recognizable forms and clear rhythmic and melodic motives to make them accessible to the listener and the performer. A formal analysis of each work illuminates these three works, of which many clarinetists are unfamiliar, so that both performers and composers may gain further insight into new music for clarinet, and new chamber music in particular.","Made available in DSpace on 2015-09-25T22:54:01Z (GMT). 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