18、19世纪美术作品中黑管哨片的位置 [18th- and 19th-century iconographical representations of clarinet reed position]

Pearson, I. E. (2006) 18、19世纪美术作品中黑管哨片的位置 [18th- and 19th-century iconographical representations of clarinet reed position]. In: Music in Art: International Journal for Music Iconography: special Chinese edition. Changjiang Wenyi Chubanshe, Wuhan, pp. 143-154. ISBN 7-5354-3155-0

Abstract

Eighteenth- and 19th-century iconographical representations of clarinet reed position confirm the existence of two embouchures as documented in contemporary primary source materials. While the reed-below embouchure has become the most prevalent today, works of art confirm the coexistence of reed-above clarinet playing until the second half of the 19th century. Specific portrayals of the reed-above embouchure indicate its use among art practitioners and military players as well as in indigenous musics. Quite a few representations testify to the popularity of the five-keyed clarinet which, although developed ca. 1765, was still employed well into the 19th century. Organological details documented in these pictures include the transition to a dark-wood mouthpiece joint, and the use of a metal ligature to bind the reed to the mouthpiece. The images discussed include engravings, paintings, and lithographs dating from ca. 1722 to ca. 1860, by artists from Germany, England, France, and Italy.

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