Aspects of The Ploger Method(TM) Applied to the Mozart Clarinet Concerto

Amy E. McCann

Date of Graduation

2013

Document Type

Dissertation

Degree Type

DMA

College

College of Creative Arts

Department

School of Music

Committee Chair

John Weigand

Committee Co-Chair

Alison Helm

Committee Member

Lynn Hileman

Committee Member

David Taddie

Committee Member

Virginia Thompson

Abstract

This paper examines the process of applying portions of the Ploger Method(TM) to the interpretation and performance of the Mozart Concerto for Clarinet. Wolfgang Amadeus Mozart's Concerto for Clarinet K. 622 is one of the most significant works in the clarinet repertoire. Not only is it one of the earliest concertos written for clarinet, but even hundreds of years after its composition it still offers students, teachers, and performers many technical challenges as well as opportunities for individual musical expression. It is also one of the most requested concertos on professional auditions for performing and teaching positions. Because of the significance of this piece, it is extremely important for any professional clarinetist to have a thorough understanding of the theoretical, technical, and musical aspects involved in the performance of the work.;Marianne Ploger has developed a technique for teaching musicianship that incorporates written and aural theory, performance psychology, and a unique understanding of how the human brain perceives musical sounds that can be particularly useful to performers. She developed her method through her work as a student of Nadia Boulanger, as a founder of the Institute for Musical Perception in Ann Arbor, Michigan, as a faculty member at the University of Michigan, and now at the Blair School of Music at Vanderbilt University.

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