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An annotated catalogue and pedagogical approach to clarinet music by Southern African composers: 1995–2022

Documenting and cataloguing Southern African clarinet music for performing, teaching, and learning is one of the best ways to preserve the region’s heritage and rich musical identity. Globally, several publications contain annotated bibliographies for the clarinet repertoire, but only a limited number include works by Southern African composers. Continued research and cataloguing of clarinet-related literature is crucial for future developments of the clarinet within a Southern African context and ensuring that the music is not “lost” or that the composers remain unknown. In the past, clarinettists (students, performers, and educators) have experienced several issues when seeking reliable sources pertaining to works by Southern African composers. This newly formed database, archive, and catalogue will assist clarinettists in sourcing “unfamiliar” works and serve as a helpful multi-purpose tool. Recent research has shown an increased interest in creating catalogues for specific musical instruments. This catalogue will not only create an awareness of Southern African composers and their compositions but is presented in a user-friendly and easily accessible format. Although several Southern African compositions exist, they are not often performed or programmed. Besides not being included in concert performances, there is (1) a lack of interest and exposure to “new” repertoire for the clarinet in Southern Africa, (2) a general lack of commercially available recordings, (3) a lack of an extensive or inclusive resource, (4) a lack of information about these composers and access to their music, and (5) an unfamiliarity with contemporary works for the clarinet written by Southern African composers. Thus, an annotated catalogue of A and B? clarinet music composed by Southern African composers between 1995 and 2022 has been compiled and includes extended methods for the instrument and suggested teaching methods (facilitating preparation, interpretation, and informed approaches to the performance of Southern African compositions). Composers’ biographical details, an overview of the history of the clarinet and clarinet performance practices in each one of the selected countries, and a glossary of ‘new’ and extended techniques found in these ‘Southern African’ compositions have been included.

KEYWORDS
Clarinet, Clarinet music, Clarinettists, Clarinet pedagogy, Composers, Extended techniques, Interpretation, Music cataloguing, Southern Africa, Southern African music, Teaching pedagogy, Teaching methods, Woodwinds

Full Name
Dr Grant Snyman
Programme