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Zeitschriftenartikel zum Thema „Flöte“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 4. März 2023

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1

Kachmarchyk, Volodymyr, und Nataliia Kachmarchyk. „A “Well-tempered Flute” by T. Boehm – The Final Stage of its Evolution and the Standardization of its Tuning System“. Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (08.07.2022): 49–62. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.04.

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"The article is dedicated to the development of the flute acoustic and tuning systems during the 18th-19th centuries. Based on the analysis of J. J. Quantz's treatise »Versuch einer Anweisung, die Flöte traversiere zu spielen« and the flute of its construction with two enharmonically unequal keys Es and Di s, the intonation and technological features of using pure tuning system in playing an instrument are revealed. Following Quantz’s ideas was another German musician, the Leipzig master instrument maker J. G. Tromlitz. He strongly recommended maintaining the dominant position of the pure tuning system while performing on the flute. The defining stage in the development of the flute design and the establishment of the well-tempered tuning system as the basis of its acoustic features was the reform of T. Boehm. The models of the inverse conical bore flute with open ring keys (1832) and the cylindrical flute with flap keys (1847) created step-by-step give evidence of the evolution of T. Boehm's views on expanding the sound dynamics and improving the intonation capabilities of the instrument. Keywords: Boehm’s flute, pure tuning system, equal temperament, conical flute, cylindrical instrument, acoustic system, key mechanics. "

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Kachmarchyk, Volodymyr, und Nataliia Kachmarchyk. „J. G. Tromlitz’s Articulatory Phonetics in Flute Sound Formation“. Studia Universitatis Babeş-Bolyai Musica 66, Nr. 2 (Dezember 2021): 225–38. http://dx.doi.org/10.24193/subbmusica.2021.2.15.

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"The paper considers articulatory phonetics and specific features of its use in flute performance. The historical stages presented of phonemic bases formation and development for flute articulation during the 16-18 centuries. Flute treatises by S. Ganassi, J.-M. Hotteterre, A. Mahaut, Ch. DeLusse, J. J. Quantz are considered in chronological order, as well as analysis of “Auführlicher und gründlicher Unterricht die Flöte zu spielen” by J. G. Tromlitz. Technological aspects are disclosed of using various phonemic structures outside the speech process to develop tongue motility and generate various types of tonguing while playing the flute. The role is identified of і and а vowels in modelling instrument phonation mechanism and their influence on sound tone and volume. The main elements are highlighted of speech and vocal types for flute articulation, as well as their differences. The vocalization significance is analysed in relation to tone development and the instrument sound uniformity in the lower and upper registers. The significance is disclosed of J. G. Tromlitz’s contribution to the flute articulation development and his innovative vocalization approaches to phonation technique. Keywords: flute, articulation, phonetics, phonemic structures, vocalization, sound production, embouchure. "

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Neumann, Gerhard. „Fernrohr und Flöte Erzählte Räume in Goethes Novelle“. Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 84, Nr. 3 (September 2010): 342–63. http://dx.doi.org/10.1007/bf03375808.

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Toeplitz, Uri. „Zur Sarabande aus dem Solo für die Flöte (BWV 1013)“. Bach-Jahrbuch 78 (08.02.2018): 85–90. http://dx.doi.org/10.13141/bjb.v19921123.

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Eine eingehende Analyse untersucht die Struktur der Sarabande der a-moll-Partita BWV 1013. Erwähnte Artikel: Hans Hering: Spielerische Elemente in J. S. Bachs Klaviermusik. BJ 1974, S. 44-69 Hans Eppstein: Chronologieprobleme in Johann Sebastian Bachs Suiten für Soloinstrument. BJ 1976, S. 35-57

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Gärtner, Susanne. „Pierre Boulez' "Sonatine für Flöte und Klavier" und ihre neu aufgetauchte Frühfassung“. Die Musikforschung 55, Nr. 1 (22.09.2021): 51–59. http://dx.doi.org/10.52412/mf.2002.h1.745.

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Die Sonatine für Flöte und Klavier (1946) gehört zu den frühesten veröffentlichten Kompositionen von Pierre Boulez. Sie dokumentiert das Bestreben des Zwanzigjährigen, verschiedene Kompositionsverfahren zu einer neuartigen Musiksprache zu verbinden. Beschreibungen des Werks bestaunen den zukunftsweisenden, an Anton Webern orientierten Umgang mit der Zwölftontechnik. Nun sind Dokumente aufgetaucht, die belegen, dass vor der Druckfassung 1949 eine deutliche Überarbeitung stattfand. Wie die Frühfassung zeigt, hielt die Prägung des jungen Boulez durch seinen Lehrer Olivier Messiaen länger an und war stärker wirksam, als man es bisher annahm.

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Hutchinson, Ben. „The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric“. Comparative Critical Studies 17, Nr. 2 (Juni 2020): 303–17. http://dx.doi.org/10.3366/ccs.2020.0364.

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The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.

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Sackmann, Dominik, und Siegbert Rampe. „Bach, Berlin, Quantz und die Flötensonate Es-Dur BWV 1031“. Bach-Jahrbuch 83 (13.03.2018): 51–85. http://dx.doi.org/10.13141/bjb.v19971837.

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Als der amerikanische Bachforscher Robert Marshall seine Überlegungen zu Bachs Spätwerk veröffentlichte, versuchte er darzulegen, daß Bach während der 1730er und frühen 40er Jahren vom galanten Stil beeinflußt wurde. Im Gegenzug widerlegte Frederick Neumann die von Marshall aufgestellten Thesen und vertrat die herkömmliche Vorstellung, Bach habe sich in seinem Spätwerk historisch weit zurückliegenden Stilen zugewandt. Im Mittelpunkt des Beitrags werden die Ergebnisse von Marshall aufgegriffen, modifiziert und zu der 'Sonate für Flöte und obligates Cembalo Es-Dur BWV 1031' in Beziehung gesetzt. Dabei geht es nicht nur um das Problem der Echtheit, sondern auch um die stilistische und zeitliche Nachbarschaft zu anderen Werken von Bach. (Oliver Schlinke, Quelle: Bibliographie des Musikschrifttums online)

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Wu, Yi-Cheng Daniel. „Webern's Op. 12, No. 2, Die geheimnisvolle Flöte: Text Setting, Form, and Pitch Orthography“. Studia Musicologica 59, Nr. 3-4 (Dezember 2018): 275–99. http://dx.doi.org/10.1556/6.2018.59.3-4.2.

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Abstract In tonal music, pitch orthography reflects different structural and functional meanings of notes in various contextual and textural settings such as harmony, melody, and voice leading. At the turn of the twentieth century, many composers attempt to progress beyond the confines of traditional tonality, whose works, as generally perceived by most analysts nowadays, treat the twelve chromatic notes as the twelve enharmonically equivalent pitch-classes and thus present “the dissolution of … [the] notational conventions of earlier times” (Gillies 1993, 43). Contrary to this general sentiment regarding orthography, the present paper brings the significance of pitch notation into sharper focus by investigating its crucial role in the course of the text setting and form in Webern's op. 12, no. 2. I will demonstrate how Webern utilizes orthography to reinforce the structure of the text and the narrative of form, assisting the analyst in considering notation as a core element while examining the pitch structure of the early twentieth-century music.

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Choo, Sanghee. „A Study on the Characteristics of Korean Traditional Music and Flute Technique in Isang Yun’s ‘Garak’(1963)“. Journal of Humanities and Social sciences 21 11, Nr. 4 (30.08.2020): 1431–44. http://dx.doi.org/10.22143/hss21.11.4.101.

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Scheide, William H. „Die Choralkantaten von 1724 und Bachs Köthener Besuch“. Bach-Jahrbuch 89 (12.03.2018): 47–66. http://dx.doi.org/10.13141/bjb.v20031782.

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Der Artikel beschäftigt sich mit den 39 erhaltenen Choralkantaten, die in den ersten neuneinhalb Monaten von Bachs zweitem Leipziger Amtsjahr (1724/1725) entstanden. Die Ähnlichkeit der Form wird dabei als Grundlage für eine Betrachtung als Gruppe betrachtet und die Frage aufgeworfen, ob Bach einem übergreifenden Plan gefolgt haben möge. Dazu wird auch die im fraglichen Jahr 1725 gegebene Fassung der Johannespassion mit dem einleitenden Choral O Mensch, bewein dein' Sünde groß ins Kalkül gezogen. In der Deutung der zugrundeliegenden Predigt- und Choraltexte werden Bezüge ausgemacht und die Problematik eventuell spurlos verschwundener Kantaten der Reihe erörtert. Im Weiteren werden vor allem die Holzbläserbesetzung in den Kantaten sowie weitere Eigenheiten der musikalischen Faktur besprochen. Dabei wird besonders auf die mögliche Beeinflussung der Flötenpartien durch Bachs Bekanntschaft eines Köthener Flötenvirtuosen durch seinen dortigen Besuch im Juli 1724 eingegangen. Drei Tabellen geben im Anhang Überblicke über Chronologie, Textform und die Verwendung der Flöte in den fraglichen Werken. Erwähnte Artikel: Alfred Dürr: Zur Chronologie der Leipziger Vokalwerke J. S. Bachs. BJ 1957, S. 5-162 Detlef Gojowy: Lied und Sonntag in Gesangbüchern der Bach-Zeit. Zur Frage des "Detempore" bei Chorälen in Bachs Kantaten. BJ 1972, S. 24-60

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Eickmeyer, Jost. „,,…, als habe dort niemals eine Insel gestanden.“ Wolfgang Hildesheimers und Hans Werner Henzes Das Ende einer Welt als Erzählung und Rundfunkoper“. Literatur für Leser 38, Nr. 3 (01.01.2015): 169–86. http://dx.doi.org/10.3726/90073_169.

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An den Schluss seiner ersten unter dem programmatisch-spöttischen Titel Lieblose Legenden veröffentlichten Prosa-Sammlung setzt Wolfgang Hildesheimer effektvoll Das Ende einer Welt.1 Dem eschatologischen Beiklang der Rede vom Ende wird schon im Titel lakonisch Paroli geboten: Es handelt sich nur um das Ende ,,einer“ Welt, jedoch einer, die in aller hyperbolischen Absurdität2 mit europäischer Kunst und Kultur assoziiert werden kann, deren gewaltsamer Untergang in Diktatur und Krieg den Lesern sowohl 1952 als auch nach der letzten revidierten Publikation 1962 noch deutlich vor Augen gestanden haben dürfte. Das ,,Echte und Bleibende“,3 das die Marchesa di Montetristo (eine schon namentlich gekennzeichnete melancholische Version von Alexandre Dumas’ rachedurstigem Grafen4) auf ihrer künstlichen Insel südöstlich von Murano pflegt, lässt sich als Sammelsurium alteuropäischer Kulturbeflissenheit lesen: an Personen ein Abraham-a-Santa-Clara-Forscher und ein Neo-Mystiker gleichen Namens, eine polnische Tänzerin, die als ,,Doppelbegabung“ (EW, 9) zugleich den Jugendstil erneuert, eine italienische Astrologin, die Kulturgeschichte betreibt, ein womöglich deutsch-italienischer monarchistischer Politiker, ein Schweizerischer Musikforscher (und -fälscher), ein französischer Flötenvirtuose und Nachfahre Jean-Pierre Bérangers, eine vermutlich irische Anhängerin keltischer Folklore. Der Palazzo der Marchesa gleicht äußerlich jenem venezianischen Gebäude, in dem Richard Wagner starb, in seinem Inneren sind gar ,,alle Stilepochen von der Gotik an vertreten“ (EW, 9), ein Cembalo gehörte einst Jean-Philippe Rameau, auch die konzertierende Flöte scheint von historischem Wert;5 Kleidung, Musik und die Säle, in denen sie aufgeführt wird, sind fein aufeinander abgestimmt.

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Tomić, Marija. „Transposition of the myth of Pan's flute in Satirova svirala [La flûte de Pan] by Petar Konjović: Fantasy and ballad aspects“. New Sound, Nr. 58-2 (2021): 19–38. http://dx.doi.org/10.5937/newso2157019t.

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In this paper we interpret the elements of the fantasy and ballad principle in Satirova svirala [La flûte de Pan] (1945) for solo flute written by Petar Konjović (1883-1970) from the point of view of the author's poetics and musical and non-musical analogies with Claude Debussy's (1862-1918) composition Syrinx (1913). Aspects of the fantasy principle are equally manifested when considering Satirova svirala as a unique musical entity that musicalizes the myth of Pan's flute, as well as in the context of its dramaturgical position, as being the central movement (Andante più sostenuto e molto rubato) in the five-movement Concert Suite for Wind Quintet. The variation principle, ballad-like 'narrativity' of the flute part, improvisational character, and rubato spaces of the Svirala's musical flow emanate the Other logic and "free play" inseparable from fantasy, resonating, at the same time, with the mythical narrative.

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Stein, Robert. „BBC Promenade Concerts: Jörg Widmann, Armonica, BBC Philharmonic/Storgårds 1.8.16; Mark Simpson, Israfel, BBC Philharmonic/Mena 9.8.16; Emily Howard, Torus, RLPO/V Petrenko 25.8.16.“ Tempo 71, Nr. 279 (20.12.2016): 93–94. http://dx.doi.org/10.1017/s0040298216000759.

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Jörg Widmann is a German composer who is acutely conscious but certainly not in awe of his musical forebears. His best-known string quartet, no. 3 ‘The Hunt’ makes dramatic use of – and has great fun with – Schumann. His 2011 concerto Flûte en suite, performed at the 2014 Proms, more than nods to Bach and baroque elegance. In Armonica, commissioned by the International Mozarteum Foundation to celebrate Mozart's 251st birthday in 2007, Widmann surprisingly and yet unsurprisingly features the glass harmonica, the distinctive instrument that Mozart featured in his own last chamber piece, the Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, K617. Mozart teamed the instrument with the quieter representatives from the wind and string families; Widmann places it against the whole orchestra.

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Dirksen, Peter. „Ein verschollenes Weimarer Kammermusikwerk Johann Sebastian Bachs?“ Bach-Jahrbuch 89 (12.03.2018): 7–36. http://dx.doi.org/10.13141/bjb.v20031780.

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Angesichts der disparaten Quellen und der uneinheitlichen Werkgestalt stellt sich die Frage nach Vorgeschichte und Entstehungszeitraum der Triosonate BWV 528. Als Ausgangspunkt dient die Sinfonia aus der Kantate Die Himmel erzählen die Ehre Gottes BWV 76, die das Urbild von BWV 528/1 darstellt. Dabei werden die Abweichungen zwischen verschiedenen Fassungen des Kantatensatzes ebenso wie die Unterschiede zur Orgelbearbeitung eingehend dargestellt. Die Sinfonia wird dabei in ihren Ursprüngen auf die Weimarer Zeit Bachs datiert, was die weitere Argumentation in der Annahme eines aus dieser Zeit stammenden Kammermusikwerkes stützt, das in der Orgelfassung überdauert haben könnte. Besonders die Instrumentierung der Kantatensätze und die orgelspezifische Einrichtung derselben werden erläutert. Verwiesen wird zudem auf die Sinfonia zu Tritt auf die Glaubensbahn BWV 152, die als Schwesterwerk zu BWV 76/8 betrachtet wird. Der zweite Satz, BWV 528/2, wird vor dem Hintergrund der erhaltenen Frühfassung BWV 528/2a und wiederum BWV 76/8, besonders der Variante (bezeichnet als BWV 76/8a) erörtert. Auch auf andere Werke Bachs mit ähnlichen kompositorischen Elementen wird verwiesen. Bezogen auf seine Befunde anhand des dritten Satzes der Sonate (unter anderem wird eine Verbindungslinie zu BWV 541 erwogen) kommt der Autor zu der Vermutung, dass dieser zwar auch deutliche Hinweise auf ein Weimarer Original liefere, trotzdem stilistisch weit von beiden anderen Sätzen abstäche. Nichtsdestotrotz stellt die hypothetisch rekonstruierte Urfassung für ihn eine wesentliche Bereicherung des Bildes von Bachs Weimarer Schaffen wie seiner Kammermusik dar. Erwähnte Artikel: Hans Eppstein: Grundzüge in J. S. Bachs Sonatenschaffen. BJ 1969, S. 5-30 Werner Breig: Bachs Violinkonzert d-Moll. Studien zu seiner Gestalt und seiner Entstehungsgeschichte. BJ 1976, S. 7-34 Alfred Dürr: Merkwürdiges in den Quellen zu Weimarer Kantaten Bachs. BJ 1987, S. 151-157 Roswitha Bruggaier: Das Urbild von Johann Sebastian Bachs Choralbearbeitung "Nun komm, der Heiden Heiland" (BWV 660). Eine Komposition mit Viola da Gamba? BJ 1987, S. 165-168 Jean-Claude Zehnder: Giuseppe Torelli und Johann Sebastian Bach. Zu Bachs Weimarer Konzertform. BJ 1991, S. 33-95 Bruce Haynes: Johann Sebastian Bachs Oboenkonzerte. BJ 1992, S. 23-44 Klaus Hofmann: Neue Überlegungen zu Bachs Weimarer Kantaten-Kalender. BJ 1993, S. 9-29 Russell Stinson: "Ein Sammelband aus Johann Peter Kellners Besitz": Neue Forschungen zur Berliner Bach-Handschrift P 804. BJ 1992, S. 45-64 Klaus Hofmann: Ein verschollenes Kammermusikwerk Johann Sebastian Bachs. Zur Fassungsgeschichte der Orgelsonate Es-Dur (BWV 525) und der Sonate A-Dur für Flöte und Cembalo (BWV 1032). BJ 1999, S. 67-80

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Lee, Jaebin. „Types and Features of Flute Stories: Focusing on Korea and Japan“. Global Knowledge and Convergence Association 5, Nr. 2 (31.12.2022): 193–219. http://dx.doi.org/10.47636/gkca.2022.5.2.193.

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In this paper, we looked at how the flute is used by paying attention to classical literature, especially the narrative. In the most famous tale, Manpasik, the flute was used as a tool to strengthen the royal authority or prevent foreign enemies. However, the flute was often the story’s center when analyzing flute-related stories. The sound of the flute changes the situation rapidly. It can be seen that the happy ending of the protagonist getting out of the crisis of death by the sound of the flute, becoming wealthy by playing the flute well, or solving the case with the sound of the flute and marrying the daughter of a wealthy family is taking advantage of the novelty of the flute. The mystique of the flute could be described more beautifully. Famous worldwide, the “Pied Piper of Hamelin” had successfully eradicated rats. Until now, it was a positive case resolution with the flute’s power, but ultimately, he used the flute to kidnap children to show fear of the flute. It showed the powerful side of the flute, such as being killed by playing a banned flute or killing a boy by the sound of the flute. This means that the flow of the story changes depending on how you use the flute. The characteristics of the flute in folktales have influenced modern times. In particular, the myth that snakes appear when playing the flute at night is very famous and still tends to be taboo. This story likely spread because simply making a sound at night damages neighbors, but it can be seen that the mighty power of the flute is being transmitted. Although the content is limited to “Manpahsik”, in the movie “Jeon Woo-chi” and the drama “The King: The Prince of Eternal”, the power of the flute is so intense that there are cases where the elements of conflict to compete are realistically expressed. The types and characteristics of the flute that have appeared in the narrative so far are meaningful in that they have provided a stepping stone to understanding the use of the flute that has become a springboard for later research and continues to the modern day.

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Sakin, Ajda Senol. „Use of Extended Flute Techniques in Flute Education in Turkey“. Higher Education Studies 8, Nr. 1 (20.12.2017): 1. http://dx.doi.org/10.5539/hes.v8n1p1.

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Extended flute techniques, which are frequently found in contemporary flute literature, carry the flute to a different dimension, pushing the boundaries of composers and performers. Although the number of pieces containing these techniques in the world has increased rapidly, along with Turkish flute repertoire, written Turkish sources about extended flute techniques are limited to theses and articles. In this research, the use of extended flute techniques in flute education programmes in Turkey was investigated. A survey method was used in the research, and 20 teaching staff members participated in the survey by answering the questionnaire. As a result of the research, it was determined that 18 teaching staff members included extended flute techniques in their flute education programmes, and 2 teaching staff members did not use these techniques in flute education, particularly because “the techniques and pieces do not accord with the levels of the students” and because of “the difficulty of the pieces”. In the conclusion, the difficulties faced by the teaching staff during training in extended flute techniques are summarized, and the suggestions of the teaching staff are mentioned.

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Borel, F. „Flûte“. Encyclopédie berbère, Nr. 19 (01.02.1998): 2862–65. http://dx.doi.org/10.4000/encyclopedieberbere.1948.

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O'Loughlin, Niall, Claude Dorgeuille, Edward Blakeman und Nancy Toff. „Flute“. Musical Times 128, Nr. 1733 (Juli 1987): 388. http://dx.doi.org/10.2307/964536.

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O'Loughlin, Niall, Ellen Taaffe Zwilich, Niels Gade, Jean Lambrechts, Martin Derungs, Robert Wykes und Hendrik Andriessen. „Flute“. Musical Times 133, Nr. 1797 (November 1992): 584. http://dx.doi.org/10.2307/1002595.

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Strathmann, Arnfred R. „Flute“. Journal of the Acoustical Society of America 82, Nr. 4 (Oktober 1987): 1475. http://dx.doi.org/10.1121/1.395826.

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Kingma, Eva K. „Flute“. Journal of the Acoustical Society of America 96, Nr. 5 (November 1994): 3211. http://dx.doi.org/10.1121/1.411239.

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WILSON, CORY JAY, und BENJAMIN FRANK. „An evaluation of ECT sample height for small flute board grades and Box Manufacturer’s Certification compliance“. June 2009 8, Nr. 6 (01.07.2009): 24–28. http://dx.doi.org/10.32964/tj8.6.24.

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TAPPI test T811 is the specified method to ascertain ECT relative to box manufacturer’s certification compliance of corrugated fiberboard under Rule 41/ Alternate Item 222. T811 test sample heights were derived from typical board constructions at the time of the test method’s initial development. New, smaller flute sizes have since been developed, and the use of lighter weight boards has become more common. The T811 test method includes sample specifications for typical A-flute, B-flute, and C-flute singlewall (and doublewall and triplewall) structures, but not for newer thinner E-flute or F-flute structures. This research explores the relationship of ECT sample height to measured compressive load, in an effort to determine valid E-flute and F-flute ECT sample heights for use with the T811 method. Through this process, it identifies challenges present in our use of current ECT test methods as a measure of intrinsic compressive strength for smaller flute structures. The data does not support the use of TAPPI T 811 for ECT measurement for E and F flute structures, and demonstrates inconsistencies with current height specifi-cations for some lightweight B flute.

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Zhang, Su Yan, Zhi Qiang Liang, Xi Bin Wang, Tian Feng Zhou, Li Jiao und Pei Yan. „Influence of Wheel Position Parameters on Flute Profile of Micro-Drill“. Materials Science Forum 874 (Oktober 2016): 52–58. http://dx.doi.org/10.4028/www.scientific.net/msf.874.52.

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Drill flute has a great influence on the drilling performance of micro-drill, and its profile largely depends on the grinding parameters, wheel profile and position. It is promising to obtain a desired flute profile with a standard wheel by adjusting the wheel position parameters. To investigate the influence of wheel position parameters on the flute profile, the micro-drill flute is simulated by MATLAB software considering the wheel installation angle and the offset distance from wheel origin to the drill blank origin, and the radial rake angle, flute width and chip evacuation capacity are quantitatively calculated to evaluate the flute profile. The simulated results show that the wheel installation angle has an obvious effect on the three performance parameters of flute profile, and the wheel offset distance only influences a parameter, i.e., the flute width evidently. The radial rake angle of drill flute increases obviously with the increased wheel installation angle, and decreases slightly with the increased wheel offset distance. With the decreased wheel installation angle, the flute width of drill flute increases causing the reduction of micro-drill strength but improvement of the chip evacuation capacity. With the increased wheel offset distance, the flute width also increases resulting in the reduction of micro-drill strength but no obvious change on chip evacuation capacity. Thus the wheel installation angle can be used as a main factor among the wheel position parameters to obtain the desired flute profile.

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Burns, Cecilia E. „Therapeutic Uses of the Flute Within Music Therapy Practice“. Music Therapy Perspectives 37, Nr. 2 (2019): 169–75. http://dx.doi.org/10.1093/mtp/miz003.

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AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an instrument within a music therapy setting more frequently. Results showed that 42.4% of the 387 respondents were actively using flute music in some way within music therapy sessions while 67.8% of respondents reported using flute music at some point in the past. Flute-playing music therapists reported using flutes more frequently in a music therapy context than music therapists who did not study flute as a primary instrument. It appears that the flute is a viable instrument for music therapy practice.

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Sarbadhikary, Sukanya. „The Breathing Body, Whistling Flute, and Sonic Divine: Oneness and Distinction in Bengal Vaishnavism’s Devotional Aesthetics“. Religions 12, Nr. 9 (09.09.2021): 743. http://dx.doi.org/10.3390/rel12090743.

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This paper studies complex narratives connecting the Hindu deity Krishna, his melodious flute, and the porous, sonic human body in the popular devotional sect, Bengal Vaishnavism. From the devotee–lover responding to Krishna’s flute call outside, envying the flute’s privileged position on Krishna’s lips, to becoming the deity’s flute through yogic breath–sound fusions—texts abound with nuanced relations of equivalence and differentiation among the devotee–flute–god. Based primarily on readings of Hindu religious texts, and fieldwork in Bengal among makers/players of the bamboo flute, the paper analyses theological constructions correlating body–flute–divinity. Lying at the confluence of yogic, tantric, and devotional thought, the striking conceptual problem about the flute in Bengal Vaishnavism is: are the body, flute and divinity distinct or the same? I argue that the flute’s descriptions in both classical Sanskrit texts and popular oral lore and performances draw together ostensibly opposed religious paradigms of Yoga (oneness with divinity) and passionate devotion/bhakti (difference): its fine, airy feeling fusing with the body’s inner breathing self, and sweet melody producing a subservient temperament towards the lover–god outside. Flute sounds embody the peculiar dialectic of difference-and-identity among devotee–flute–god, much like the flute–lip-lock itself, bringing to affective life the Bengal Vaishnava philosophical foundation of achintya-bhed-abhed (inconceivability between principles of separation and indistinction).

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Marsudi, Marsudi Marsudi. „Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta“. Resital: Jurnal Seni Pertunjukan 23, Nr. 1 (30.04.2022): 39–50. http://dx.doi.org/10.24821/resital.v23i1.6112.

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This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.

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Marsudi, Marsudi Marsudi. „Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta“. Resital: Jurnal Seni Pertunjukan 23, Nr. 1 (30.04.2022): 39–50. http://dx.doi.org/10.24821/resital.v1i1.6112.

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This research is motivated by the fact that many flute players, artists, musical practitioners and students do not recognize the characteristics of the Yogyakarta style flute, so there is a tendency to abandon it. On the other hand, the Yogyakarta style flute instrument has specifications that lead to special characteristics. This study aims to provide an understanding of the Yogyakarta style flute as well as produce teaching materials for the Yogyakarta style flute as a guide for learning. This study uses two methods, namely data collection and analysis and design methods. Yogyakarta Style flute learning techniques include: knowledge of the flute, basic techniques, intermediate techniques, and advanced techniques. Knowledge of the flute includes the characteristics of the shape, blow hole, tone hole, closing tone, cengkok seleh, and the application of cengkok seleh flute Yogyakarta style. Basic techniques include mastery of blowing and closing types in finding the tone of both the slendro barrels. Intermediate techniques include basic mastery of crooked selh, slendro barrel and pelog barrel. Advanced techniques include the application of seleh bends on the gending and lagon.

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Ji, Shu De, Li Guo Zhang, Yan Ye Jin und Guo Hong Luan. „Numerical Simulation of Rotational Tool Shoulder Shape’s Effect on Transfer Behavior of Welding Plastic Metal in Friction Stir Welding“. Materials Science Forum 704-705 (Dezember 2011): 1167–74. http://dx.doi.org/10.4028/www.scientific.net/msf.704-705.1167.

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The plunging process of rotational tool is simulated while the shapes of rotational tool shoulder are inner-concave-flute, concentric-circles-flute and three-spiral-flute respectively. The effect of rotational tool shoulder’s shape on transfer behavior of welding plastic metal is obtained. The results show that whatever the shape of tool shoulder is, the metal of contact surface in the workpiece undergoes relatively big plastic transfer. To the rotational tool with three-spiral-flute shoulder, the transfer velocity and displacement of plastic metal inside the workpiece slowly decrease with the increase of the distance away from the surface of workpiece. To the rotational tool with the inner-concave-flute shoulder or the concentric-circles–flute shoulder, the transfer velocity of metal inside the workpiece is very small and the value is close to zero. Using the rotational tool with no pin, the experiment of friction stir welding is processed. The results show that the size of every grain in weld nugget zone which is made by the rotational tool with three-spiral-flute shoulder is nearly the same. The degree of uniformity of grain made by three-spiral-flute shoulder is much higher than that made by inner-concave-flute shoulder or concentric-circles-flute shoulder.

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Kassner, Weronika. „Redukcjonizm w twórczości fletowej Henryka Mikołaja Góreckiego z lat 1986–1996“. Res Facta Nova. Teksty o muzyce współczesnej, Nr. 22 (31) (15.12.2021): 91–104. http://dx.doi.org/10.14746/rfn.2021.22.8.

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The aim of this discussion is to demonstrate manifestations of reductionism in the works of Henryk Mikołaj Górecki. In order to achieve this the article compares conclusions based on analyses of three works for the flute by Górecki composed during the same decade – For you, Anne-Lill op. 58 for flute and piano (1986), Good Night op. 63 for soprano, alto flute, piano and three tam-tams (1990) as well as Valentine Piece op. 70 for flute and bell (1996). The part of the flute is analysed in particular detail – the way it is shaped, its type of narration, and its relation to other instruments. The article is in two parts: the first outlines the tendencies in flute compositions in 20 th century in Poland and in the world, while the second part presents analyses of selected flute compositions by Górecki. The conclusions point to Górecki having an individual approach to using the flute as a solo instrument or as part of a group of instruments in a chamber composition, as well as to cohesiveness of the development of flute compositions against the background of the composer’s stylistic evolution as a whole.

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Arifa Hidayamastifa, Rini, und Jagar Lumbantoruan. „PEMBELAJARAN ETUDE FIFTY LITTLE FLUTE STUDIES OP25 PADA MAHASISWA INSTRUMEN FLUTE PRODI PENDIDIKAN MUSIK FBS UNP“. Jurnal Sendratasik 9, Nr. 3 (01.09.2020): 22. http://dx.doi.org/10.24036/jsu.v9i1.109380.

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Abstract The purpose of this study is to find out how the learning process of Etude Fifty Little Flute Studies is conducted in the flute instrument Major I course in the Music Education Study Program at FBS UniversitasNegeri Padang. This research is a descriptive analysis research by utilizing qualitative data. The implementation of Etude Fifty Little Flute Studies learning in flute instrument major I involved students of 2019 class who just took major I course which was played in 3 repertoires.The study examined the learning process of Etude Fifty Little Flute Studies Op 25 and Op 26 by looking for processes, learning experiences, and learning evaluations.Based on the results of learning conducted, Etude Fifty Little Flute Studies is very influential in the learning process.It is due to the fact that flute instrument major I studentsare still categorized as beginners and are new to the flute instruments and theoretical abilities such as using suspension, legato and staccato techniques.This is proven by students who carry out the process well and practice through the material given. Thus, these students get grades according to their processes.The relation between what is explained by the lecturer and the students theoretically and practically can be done well even though it is not that optimal because there is no direct control through face to face meeting.Keywords: Learning, Etude Fifty Little Flute Studies, Flute Instruments

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Sun, Yizhen. „Training Method of Flute Breath Based on Big Data of Internet of Things“. Scientific Programming 2022 (19.09.2022): 1–10. http://dx.doi.org/10.1155/2022/5211927.

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As a traditional musical instrument, the flute has a long history and is loved by people. The flute has a wider range, and its timbre has strong penetrating and expressive power. This is not only a unique solo instrument but also occupies an important position in the symphony orchestra. Breath training on the flute is an essential step in flute learning. However, in the traditional flute breath training process, teachers cannot observe the students’ practice in real time, and the training process is relatively simple, resulting in the final training effect not being obvious and the students’ breath stability not being significantly improved. In order to solve this problem, this paper applied the Internet of Things (IoT) big data technology to the flute breath training process. The flute breath training system based on big data of Internet of Things was used to conduct professional breath training for students. Through the tests of the trained students, it was found that the training method of flute breath using the big data of the Internet of Things improved the students’ leg strength and chest, abdomen, and back strength. In the long-tone practice, the students’ exhalation time increased by 1.472 seconds, and the students’ breath stability increased by 7.1%, which laid a good foundation for the students to learn the flute in the future.

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Voon, Chai Yem. „Some Observations on Flute Playing in Malaysia“. ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (04.12.2020): 60–80. http://dx.doi.org/10.30819/aemr.6-5.

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Surviving in an environment that seems to be not encouraging music performances for entertainment or for mental contemplation, Malaysian musicians have to strive very hard in order to earn a living. The situation gets worse when it comes to a particular group of musicians who have no choice but share the similar job opportunities. Apparently, the market is not offering enough opportunities for flautists compared to pianists and string instrument players. This eventually leads to a very competitive situation in both the performing and teaching scene. The time frame of this observation reaches back to the time between 2011 and 2016, a cut in cultural market matters caused by the last general election. By and large, watching pure instrumental performances is yet a new controversy for local audiences. This is the major reason stopping potential sponsors to support local arts though musicians have no way to showcase their passion for music without funding. The situation is more frustrating when focussing on flute performance alone as there is no commonly organised major flute event in Kuala Lumpur. For instance, "The Flute Festival in Malaysia" in 2007 was the first and only flute festival so far, in Malaysia. It was organized by the Japan Foundation, Kuala Lumpur (JFKL) together with The Kuala Lumpur Performing Arts Centre (KLPac), the Embassy of Japan and the Flute Festival in Malaysia Organizing Committee. The flute festival opened the eyes and ears of the local flute lovers by giving flute masterclasses, bringing in different kinds of flute brands and models for free trials on the spot and having a flute orchestra to perform. It consisted of 60 professional and amateur musicians from Malaysia, Japan and other countries, who came hoping to inspire each other and to purely enjoy flute music. Not to forget the famous saxophone ensemble from Japan, the “Mi-bemol Saxophone Ensemble” that gave a marvellous performance which was greatly inspiring Malaysian audiences of wind instruments. However, this also shows that flute performances alone might not get to stand resolutely in the local market.

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Said, Arini Nur, und Helena Evelin Limbong. „Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns“. Resital: Jurnal Seni Pertunjukan 22, Nr. 2 (22.12.2021): 89–99. http://dx.doi.org/10.24821/resital.v22i2.5137.

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The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm.

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Peng, Yan Ping, Bing Bai, Qiu Hua Sun, Wei Zhang und Feng Bao He. „Precision Measurement for Drill Helical Flute Curve“. Applied Mechanics and Materials 423-426 (September 2013): 762–66. http://dx.doi.org/10.4028/www.scientific.net/amm.423-426.762.

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Accurate measurement for the flute curve of drill is essential to its design and the evaluation of cutting performance of drill. The helical flute curve of the drill has a big influence on the shape of the main blade, the exhaust of the chip, and the supply of the coolant etc. In this paper the measuring method of flute curve is described. As the measuring method, the lead, helical angle, normal section shape (flute curve) was measured respectively. Then the measured data are analyzed with digital filtering, smoothing etc., thus the normal section shape and cross-section shape data are gained. The measured data agree well with the known values. The proposed measuring method may be applied not only to the measurement of flute curve of the drill but also to the measurement of the other helical flute curves.

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Nair, Gopakumar G. „A WIN-WIN SOLUTION FOR MUTUAL BENEFIT AND PROSPERITY“. INDIAN DRUGS 58, Nr. 07 (29.09.2021): 5–6. http://dx.doi.org/10.53879/id.58.07.p0005.

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Dear Reader, Nobel Laureate Prof. Amartya Sen cites a story of three children, Anne, Bob and Carla. Prof. Sen quotes Aristotle and Bentham too while narrating the story, I heard from Prof (Dr.) James Nedumpara at his recent live lecture at Jindal Global Law School. This story fascinated me and it goes like this. Clara worked hard to successfully build a flute. Anne knows to play the flute, but Clara does not know to play the flute. Bob, the third child, does NOT have any toys to play with, so he wants the flute. All the children are claimants to the flute. Prof. Sen and many legal luminaries quote many legal theories such as Libertarianism, Utilitarianism, Egalitarian and also try to distinguish between “Niti and Nyaya” to resolve this problem, as to who merits (deserts and deserve) to keep the flute.

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O'Loughlin, Niall. „Modern Flute“. Musical Times 129, Nr. 1745 (Juli 1988): 349. http://dx.doi.org/10.2307/964755.

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O'Loughlin, Niall. „Flute Concertos“. Musical Times 126, Nr. 1713 (November 1985): 677. http://dx.doi.org/10.2307/965056.

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O'Loughlin, Niall, und Nancy Toff. „Flute Guide“. Musical Times 127, Nr. 1719 (Juni 1986): 338. http://dx.doi.org/10.2307/965080.

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O'Loughlin, Niall. „Modern Flute“. Musical Times 127, Nr. 1719 (Juni 1986): 341. http://dx.doi.org/10.2307/965087.

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O'Loughlin, Niall, und Frans Vester. „Flute Repertory“. Musical Times 127, Nr. 1720 (Juli 1986): 388. http://dx.doi.org/10.2307/965242.

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O'Loughlin, Niall. „Romantic Flute“. Musical Times 129, Nr. 1741 (März 1988): 139. http://dx.doi.org/10.2307/965289.

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42

Boyd, Malcolm. „Baroque Flute...“ Musical Times 128, Nr. 1737 (November 1987): 633. http://dx.doi.org/10.2307/965529.

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O'Loughlin, Niall. „Flute Miscellany“. Musical Times 130, Nr. 1754 (April 1989): 220. http://dx.doi.org/10.2307/966478.

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44

Lasocki, David, Raymond Meylan, Alfred Clayton, Hans-Peter Schmitz, Antoine Mahaut und Eileen Hadidian. „The Flute“. Notes 47, Nr. 4 (Juni 1991): 1150. http://dx.doi.org/10.2307/941645.

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45

Smith, Edwina, und Jeremy Montagu. „The Flute“. Galpin Society Journal 45 (März 1992): 172. http://dx.doi.org/10.2307/842293.

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46

Berdahl, Susan, und Pierre-Yves Artaud. „La Flute“. Galpin Society Journal 46 (März 1993): 197. http://dx.doi.org/10.2307/842374.

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47

Smith, Edwina, und Raymond Meylan. „The Flute“. Galpin Society Journal 43 (März 1990): 177. http://dx.doi.org/10.2307/842494.

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48

Fang, Shangyang. „Satyr’s Flute“. Yale Review 109, Nr. 2 (2021): 74–75. http://dx.doi.org/10.1353/tyr.2021.0032.

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49

Drelinger, Sanford. „Flute headjoint“. Journal of the Acoustical Society of America 93, Nr. 1 (Januar 1993): 593–94. http://dx.doi.org/10.1121/1.405584.

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50

Goosman, Jack P. „Flute headjoint“. Journal of the Acoustical Society of America 88, Nr. 1 (Juli 1990): 593. http://dx.doi.org/10.1121/1.399878.

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