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Relevant bibliographies by topics / Baroque flute

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Academic literature on the topic 'Baroque flute'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Baroque flute"

1

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

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Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (1996): 225–63. http://dx.doi.org/10.2307/831990.

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Three instruments attributed to "Hotteterre" are considered the earliest baroque flutes. But two of these, once in the collection of César Charles Snoeck, prove to be copies, made at different times in the nineteenth century in La Couture-Boussey, Normandy. These, and other replicas made for the Brussels Conservatory and Dayton C. Miller collections, have fostered the growing myth of the "Hotteterre flute." Recently discovered flutes by Richard Haka and others argue against the presumption that the baroque flute was a sudden invention. New and wider studies of seventeenth-century woodwind inst

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3

ADDINGTON, CHRISTOPHER. "The Baroque flute." Early Music 13, no. 2 (1985): 331–35. http://dx.doi.org/10.1093/earlyj/13.2.331.

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4

Smith, Richard Langham, Rachel Brown, Mark Caudle, and James Johnstone. "French Baroque Flute Music." Musical Times 135, no. 1811 (1994): 42. http://dx.doi.org/10.2307/1002839.

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Garratt, Christine. "A new method for the Baroque flute." Early Music XXVI, no. 4 (1998): 662–66. http://dx.doi.org/10.1093/earlyj/xxvi.4.662.

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Moore, Tom, and Janice Dockendorff Boland. "Method for the One-Keyed Flute: Baroque and Classical." Notes 55, no. 3 (1999): 661. http://dx.doi.org/10.2307/900428.

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7

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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Reisenweaver, Anna. "The Development of the Flute as a Solo Instrument from the Medieval to the Baroque Era." Musical Offerings 2, no. 1 (2011): 11–21. http://dx.doi.org/10.15385/jmo.2011.2.1.2.

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Медведнікова, Т. О., and Т. Л. Фещенко. "Problems of authentic performance of works for the Baroque epoch on the organ." Музикознавча думка Дніпропетровщини, no. 16 (December 18, 2019): 42–53. http://dx.doi.org/10.33287/221921.

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The purpose of the article is to study the baroque principles ofplaying the organ and the advantages of authentic performance of works ofthe Baroque era in our time. The methods, which are used into therepresented work, are historical, comparative, structurally analytical,axiological as well as generalizing. Scientific novelty consists in revealingthe features and specifics of authentic performance on a modern organ andcomparing the authentic and modern interpretation of works of theBaroque era. Conclusions. The organ has a long history of its evolution.The path of its formation began in the 7

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Afanasieva, E. Yu. "THE CHARACTERISTIC FEATURES OF THE ENSEMBLE PERFORMANCE OF BAROQUE MUSIC FOR FLUTE AND PIANO." Innovate Pedagogy 18, no. 1 (2019): 9–12. http://dx.doi.org/10.32843/2663-6085-2019-18-1-1.

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Dissertations / Theses on the topic "Baroque flute"

1

Miller, Michelle Renee. "The introduction of the one-keyed transverse flute in France and its use in the French baroque cantata." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185854.

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During the second half of the seventeenth century, the transverse flute was transformed from a cylindrical, one-pieced, six-holed instrument into a conically bored instrument in three or four pieces with seven tone holes and one key. These changes enabled flutists to adapt to a new repertoire that demanded improved intonation and increased tonal control. A genre which exploited these improvements was the French cantata, in which, the flute, along with the violin, was more and more favored as an obbligato instrument. Political and internal upheavals during the last years of Louis XIV's reign ch

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2

Fick, Jason. "Transfantasies for Flauto Traverso, Computer Music, and Dance." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271813/.

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TransFantasies is an interdisciplinary composition for Baroque flute (flauto traverso), computer music, and dance. A crucial component of the work is an interactive hardware and software environment that provides the opportunity for the players to shape aspects of the work during the performance. This essay discusses the influences that inspired the work and presents an in-depth analysis of notable elements of the composition. Primary issues include compositional models for gesture-based composition, historical performance practices, interactivity, and relationships between music and dance.

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3

Preston, Stephen. "Bird song as a basis for new techniques and improvisational practice with the baroque flute." Thesis, University of Plymouth, 2004. http://hdl.handle.net/10026.1/2753.

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Subsequent to a period of training as a flautist, I ultimately specialised professionally on the baroque flute. Consequently, a significant part of my research for a PhD was practice-led. My later career; concerned with dance and choreography, represented a widening and diversification of my interest in music in particular, and the allied arts in general. This was (and continues to be) paralleled, however, with a substantial research-interest in aspects of the performance of music and its potential interconnection(s) with modalities of speech. However, my own research commenced with a strong d

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Guitry, Amy Beth. "The Baroque flute as a modern voice : extended techniques and their practical integration through performance and improvisation." Thesis, City, University of London, 2010. http://openaccess.city.ac.uk/17424/.

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The baroque, one-keyed flute has, within the last half century, been rediscovered for performance, particularly within early music settings, and more recently has been welcomed into the area of contemporary music. This research continues to widen the boundaries of the modern baroque flute by building on its rich history in both technical aspects and practical performance, and by continuing to expand its musical and technical horizon through the extension of historical ideas and the introduction of new ideas within a contemporary idiom. This document begins with a general description of the ins

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Cunningham, Jennifer Ann Reinert. "A critical edition of Johann Christoph Schultze’s Six sonatas for two flutes without basso and a chaconne for two equal voices in canon." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1578.

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By the eighteenth century, the business of music publishing in Europe had exploded. Europe had become more culturally international, and interest in purchasing and performing music written by foreign composers was in vogue. Unfortunately laws governing copyright and editing of music were either difficult to enforce or non-existent, and most were not applicable on an international level. Around 1750 music publishers Leclerc and Boivin published an edition of flute sonatas in Paris. This edition was attributed to Georg Friderich Handel, whose work, at the time, was the most sought after in Weste

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Carpena, Lucia Becker. "Caracterização e uso da flauta doce nas operas de Reinhard Keiser (1674-1739)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284322.

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Orientadores: Helena Jank, Paulo Mugayar Kuhl<br>Acompanha anexos I-IV (308p., il. publicados separadamente) e Anexo V em CD-ROM<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-09T09:53:29Z (GMT). No. of bitstreams: 1 Carpena_LuciaBecker_D.pdf: 28904081 bytes, checksum: 2b59739db096e3ab52bf504eb62fd4e4 (MD5) Previous issue date: 2007<br>Resumo: A tese trata da maneira como Reinhard Keiser (1674-1739) utilizou a flauta doce nas árias de suas óperas, e teve como objetivo principal ampliar o repertório orquestral e vocal com fla

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Pottier, Laurence. "Le répertoire de la flûte à bec en France à l'époque baroque (musique profane)." Paris 4, 1992. http://www.theses.fr/1992PA040181.

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La flûte à bec est un instrument très populaire. Paradoxalement, son répertoire est souvent ignoré. Cette thèse étudie outre son histoire, sa facture et son iconographie, les oeuvres originales composées pour lui en France entre 1657 et 1745. Elle explique également pourquoi et comment la flûte à bec est tombée en désuétude au début du XVIIIe siecle. Un catalogue thématique et un catalogue iconographique sont joints. Une méthode inédite de la fin du XVIIe siècle figure dans le volume des documents annexes<br>The recorder is nowadays a very popular instrument, but its past is often unknown. Thi

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Volcansek, Frederick Wallace. "The Essercizii musici, a study of the late baroque sonata." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/volcansek%5Ffredercik%5Fjr/index.htm.

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Butterfield, Emily J. "The professional life and pedagogy of Clement Barone." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1053633453.

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Yeh, Jou-ching, and 葉柔青. "Development and Comparison of Flute Sonata - from Baroque to Modern times." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/22835688170290344283.

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碩士<br>國立臺中教育大學<br>音樂學系碩士班<br>98<br>Sonata is an important performance genre of instruments, so does flute. Styles of the flute sonata are very different in each period in western music history due to the development of flute. The study aims to explore the characteristics and differences of flute sonata in different periods as well as the development of flute sonata. This study includes three sections: a) history of sonata, including its development and musical form, b) development of flute sonata, c) comparison of musical forms of representative flute sonatas in each period, furthermore, anal

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Books on the topic "Baroque flute"

1

Strizich, Robert. Tombeau: For Baroque flute and harpsichord. Fallen Leaf Press, 1996.

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2

Boland, Janice Dockendorff. Method for the one-keyed flute, baroque and classical. University of California Press, 1998.

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3

Quantz, Johann Joachim. On playing the flute: The classic of Baroque music instruction. 2nd ed. Faber, 2001.

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4

Newhaus, Margaret N. The Baroque flute fingering book: A comprehensive guide to fingerings for the one-keyed flute including trills, flattements, and battements based on original sources from the eighteenth and nineteenth centuries. Flute Studio Press, 1986.

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5

The early flute: A practical guide. Cambridge University Press, 2002.

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6

Neuhaus, Margaret N. The baroque flute fingering book: A comprehensive guide to fingering for the one-keyed flute including trills, flattements, and battements : based on original sources from the eighteenth and nineteenth centuries. Flute Studio Press, 1986.

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7

Jones, Richard. Baroque Flute Pieces. Associated Board of the Royal School of Music, 1996.

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8

Jones, Richard. Baroque Flute Pieces. Associated Board of the Royal School of Music, 1995.

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9

Jones, Richard. Baroque Flute Pieces. Associated Board of the Royal School of Music, 1995.

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Jones, Richard. Baroque Flute Pieces. Associated Board of the Royal School of Music, 1995.

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Book chapters on the topic "Baroque flute"

1

Bucur, Voichita. "Wood Species for Reed-Driven Instruments—Clarinet, Oboe, Bassoon and for Baroque Flute." In Handbook of Materials for Wind Musical Instruments. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_3.

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2

"The flute." In Baroque Woodwind Instruments. Routledge, 2017. http://dx.doi.org/10.4324/9781315096629-3.

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3

Hadden, Nancy. "The Renaissance Flute in the Seventeenth Century." In From Renaissance to Baroque. Routledge, 2017. http://dx.doi.org/10.4324/9781315093826-7.

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Oleskiewicz, Mary. "The Flute at Dresden: Ramifications for Eighteenth-Century Woodwind Performance in Germany." In From Renaissance to Baroque. Routledge, 2017. http://dx.doi.org/10.4324/9781315093826-8.

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Duffek. Jr., Mihály. "Performance and Transcription of Baroque Solo Pieces for Bassoon." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/9.

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This essay examines the sources of the autograph and other copies of two selected solo pieces, J. S. Bach's Cello Suites and Georg Philipp Telemann's Fantasies for Solo Flute used to make a bassoon transcription. Using the special literature on the subject of the Baroque style of playing in general, the articulation, ornamentation, dynamics and tempi of the two pieces were determined. along with the role and playing possibilities of the period bassoon. Aspects of the transcription include: a brief description of the habitual Baroque transcription and its tradition, presentation and evaluation of other bassoon transcriptions of the selected pieces, detailed aspects of the author’s transcription of the articulation, ornaments, dynamics, tempi and breathing. Also discussed are the purpose of the completed transcription, its role in education, and its place in the bassoon repertoire. Keywords: bassoon, solo bassoon, baroque, transcription, Bach, Telemann

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