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Thematische Bibliographien / Flöte / Zeitschriftenartikel

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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, and 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 (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 tuni

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Kachmarchyk, Volodymyr, and Nataliia Kachmarchyk. "J. G. Tromlitz’s Articulatory Phonetics in Flute Sound Formation." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (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 vari

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Neumann, Gerhard. "Fernrohr und Flöte Erzählte Räume in Goethes Novelle." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 84, no. 3 (2010): 342–63. http://dx.doi.org/10.1007/bf03375808.

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4

Toeplitz, Uri. "Zur Sarabande aus dem Solo für die Flöte (BWV 1013)." Bach-Jahrbuch 78 (February 8, 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, no. 1 (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 w

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Hutchinson, Ben. "The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric." Comparative Critical Studies 17, no. 2 (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

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Sackmann, Dominik, and Siegbert Rampe. "Bach, Berlin, Quantz und die Flötensonate Es-Dur BWV 1031." Bach-Jahrbuch 83 (March 13, 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.

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8

Wu, Yi-Cheng Daniel. "Webern's Op. 12, No. 2, Die geheimnisvolle Flöte: Text Setting, Form, and Pitch Orthography." Studia Musicologica 59, no. 3-4 (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 sentime

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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, no. 4 (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 (March 12, 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 Pro

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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, no. 3 (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 ha

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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, no. 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 rub

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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, no. 279 (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 Adag

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Dirksen, Peter. "Ein verschollenes Weimarer Kammermusikwerk Johann Sebastian Bachs?" Bach-Jahrbuch 89 (March 12, 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 st

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Lee, Jaebin. "Types and Features of Flute Stories: Focusing on Korea and Japan." Global Knowledge and Convergence Association 5, no. 2 (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

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Sakin, Ajda Senol. "Use of Extended Flute Techniques in Flute Education in Turkey." Higher Education Studies 8, no. 1 (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 participat

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17

Borel, F. "Flûte." Encyclopédie berbère, no. 19 (February 1, 1998): 2862–65. http://dx.doi.org/10.4000/encyclopedieberbere.1948.

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18

O'Loughlin, Niall, Claude Dorgeuille, Edward Blakeman, and Nancy Toff. "Flute." Musical Times 128, no. 1733 (1987): 388. http://dx.doi.org/10.2307/964536.

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O'Loughlin, Niall, Ellen Taaffe Zwilich, Niels Gade, et al. "Flute." Musical Times 133, no. 1797 (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, no. 4 (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, no. 5 (1994): 3211. http://dx.doi.org/10.1121/1.411239.

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22

WILSON, CORY JAY, and BENJAMIN FRANK. "An evaluation of ECT sample height for small flute board grades and Box Manufacturer’s Certification compliance." June 2009 8, no. 6 (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-f

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Zhang, Su Yan, Zhi Qiang Liang, Xi Bin Wang, Tian Feng Zhou, Li Jiao, and Pei Yan. "Influence of Wheel Position Parameters on Flute Profile of Micro-Drill." Materials Science Forum 874 (October 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 qu

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Burns, Cecilia E. "Therapeutic Uses of the Flute Within Music Therapy Practice." Music Therapy Perspectives 37, no. 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 in

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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, no. 9 (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

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Marsudi, Marsudi Marsudi. "Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta." Resital: Jurnal Seni Pertunjukan 23, no. 1 (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 fl

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Marsudi, Marsudi Marsudi. "Metode Pembelajaran Suling Laras Slendro Gaya Yogyakarta." Resital: Jurnal Seni Pertunjukan 23, no. 1 (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 fl

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Ji, Shu De, Li Guo Zhang, Yan Ye Jin, and 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 (December 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

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Kassner, Weronika. "Redukcjonizm w twórczości fletowej Henryka Mikołaja Góreckiego z lat 1986–1996." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 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

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Arifa Hidayamastifa, Rini, and Jagar Lumbantoruan. "PEMBELAJARAN ETUDE FIFTY LITTLE FLUTE STUDIES OP25 PADA MAHASISWA INSTRUMEN FLUTE PRODI PENDIDIKAN MUSIK FBS UNP." Jurnal Sendratasik 9, no. 3 (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 looki

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Sun, Yizhen. "Training Method of Flute Breath Based on Big Data of Internet of Things." Scientific Programming 2022 (September 19, 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’ b

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Voon, Chai Yem. "Some Observations on Flute Playing in Malaysia." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 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 b

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Said, Arini Nur, and Helena Evelin Limbong. "Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns." Resital: Jurnal Seni Pertunjukan 22, no. 2 (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 scor

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Peng, Yan Ping, Bing Bai, Qiu Hua Sun, Wei Zhang, and 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.

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Nair, Gopakumar G. "A WIN-WIN SOLUTION FOR MUTUAL BENEFIT AND PROSPERITY." INDIAN DRUGS 58, no. 07 (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 q

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O'Loughlin, Niall. "Modern Flute." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964755.

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O'Loughlin, Niall. "Flute Concertos." Musical Times 126, no. 1713 (1985): 677. http://dx.doi.org/10.2307/965056.

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O'Loughlin, Niall, and Nancy Toff. "Flute Guide." Musical Times 127, no. 1719 (1986): 338. http://dx.doi.org/10.2307/965080.

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O'Loughlin, Niall. "Modern Flute." Musical Times 127, no. 1719 (1986): 341. http://dx.doi.org/10.2307/965087.

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O'Loughlin, Niall, and Frans Vester. "Flute Repertory." Musical Times 127, no. 1720 (1986): 388. http://dx.doi.org/10.2307/965242.

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O'Loughlin, Niall. "Romantic Flute." Musical Times 129, no. 1741 (1988): 139. http://dx.doi.org/10.2307/965289.

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Boyd, Malcolm. "Baroque Flute..." Musical Times 128, no. 1737 (1987): 633. http://dx.doi.org/10.2307/965529.

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O'Loughlin, Niall. "Flute Miscellany." Musical Times 130, no. 1754 (1989): 220. http://dx.doi.org/10.2307/966478.

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Lasocki, David, Raymond Meylan, Alfred Clayton, Hans-Peter Schmitz, Antoine Mahaut, and Eileen Hadidian. "The Flute." Notes 47, no. 4 (1991): 1150. http://dx.doi.org/10.2307/941645.

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Smith, Edwina, and Jeremy Montagu. "The Flute." Galpin Society Journal 45 (March 1992): 172. http://dx.doi.org/10.2307/842293.

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Berdahl, Susan, and Pierre-Yves Artaud. "La Flute." Galpin Society Journal 46 (March 1993): 197. http://dx.doi.org/10.2307/842374.

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Smith, Edwina, and Raymond Meylan. "The Flute." Galpin Society Journal 43 (March 1990): 177. http://dx.doi.org/10.2307/842494.

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Fang, Shangyang. "Satyr’s Flute." Yale Review 109, no. 2 (2021): 74–75. http://dx.doi.org/10.1353/tyr.2021.0032.

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Drelinger, Sanford. "Flute headjoint." Journal of the Acoustical Society of America 93, no. 1 (1993): 593–94. http://dx.doi.org/10.1121/1.405584.

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Goosman, Jack P. "Flute headjoint." Journal of the Acoustical Society of America 88, no. 1 (1990): 593. http://dx.doi.org/10.1121/1.399878.

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