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The Cambridge Companion to the Clarinet is a practical guide to the world of the clarinet. It offers students and performers a composite survey of the history and repertory of the instrument from its origins to the present day, as well as practical guidance on teaching and playing from historical performance to contemporary techniques and jazz. Informed by the experience of distinguished professional players and teachers, this book makes an essential and stimulating reference book for all clarinet enthusiasts

Music --- instrumentenleer --- klarinetten --- Clarinet --- Clarionet --- Primer clarinet --- Woodwind instruments --- Clarinet music --- Clarinette --- Clarinette, Musique de --- Klarinet --- 78.45.2 --- 518 --- Organologie

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Blaasinstrumenten --- Clarinet --- Clarinette --- Clarionet --- Instruments a vent --- Klarinet --- Primer clarinet --- Wind instruments --- Clarinet music --- Clarinette, Musique de --- History and criticism --- Construction --- History --- Histoire et critique --- Facture --- Histoire --- basklarinetten --- klarinetten --- 78.45.2

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Octets (Bassoon, clarinet, flute, horn, oboe, trombone, trumpet, double bass) --- Scores.

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Jazz --- Jazz. --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- Music History & Criticism, Popular - Jazz, Rock, etc.

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"The Jazz Republic" examines jazz music and the jazz artists who shaped Germany's exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany's first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. He also engages with the meaning of jazz in debates over changing gender norms and jazz's status between paradigms of high and low culture. By looking at German translations of Langston Hughes's poetry, as well as Theodor W. Adorno's controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s. Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere "symbol" of Weimar's modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way.

Music and race --- Race and music --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- Jazz --- History and criticism. --- Social aspects --- History --- Germany --- Civilization --- American influences. --- Race --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- United States