Dissertations / Theses on the topic 'Contemporary flute'

This lecture-recital document evaluates the collaborative process in five American works written for flute and dance. My perspective is that of a musician interpreting and performing music for choreography and dance. This project aims to elevate the significance of collaborative works in general, and in the flutist's repertoire specifically. The second and broader purpose of this study is to identify fundamental elements of the collaborative process. Using five works as a model, I have developed collaborative guidelines that assist musicians, dancers, and choreographers in the performance of these and other works. This study asserts that a shared vision is vital to a successful collaborative experience. An awareness of the differences between musical language and kinesthetic vocabulary is also necessary. In addition, the incorporation of theatrical parameters must be explored. Teamwork, trust, flexibility, and communication must be developed between the performers. Understanding fundamental elements of the collaborative process provides a foundation for bringing music and dance together in performance.

O presente trabalho tem como principal objetivo compreender a evolução da música de câmara em Portugal nos últimos quarenta anos, especificamente a música contemporânea portuguesa e perceber o papel da flauta neste contexto. Para tal fez-se primeiramente uma análise do contexto social, político e cultural bem como os seus principais intervenientes. Analisaram-se as instituições que durante muitos anos foram a referência para o estudo da música assim como o papel dos docentes de flauta na divulgação do repertório camerístico português. Definiram-se algumas instituições promotoras de eventos dedicados à música de câmara, analisando a flauta como instrumento integrante. Por fim foi realizada uma abordagem biográfica de alguns grupos de música de câmara contemporânea portuguesa com flauta, a sua importância e o seu contributo para o tema em estudo; Abstract: The flute in the context of Portuguese contemporary chamber music – The last 40 years. The main purpose of this thesis “The flute in the context of Portuguese contemporary chamber music – The last 40 years” is to understand the evolution of chamber music in Portugal in the last forty years, specifically the Portuguese contemporary music and to understand the role of the flute in this context. Firstly a social, political and cultural analysis was done, as well as to their key players. The institutions that for many years were the reference for the study of music were analyzed, as well as the role of flute teachers in spreading the Portuguese chamber music repertoire. Some institutions that promote events dedicated to chamber music were determined, analyzing the flute as an integral instrument. Finally, a biographical approach of some Portuguese contemporary chamber music groups with flute was done, their importance and their contribution to the subject under study.

Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem presents mental, physical, and musical challenges that go beyond the usual expectations of an instrumentalist, extending and redefining the traditional idea of virtuosity. Using firsthand performance experience, score and recording study, and flutist interviews, this document explores the effects of some of these heightened demands and argues that the particular performance situation presented by Kathinkas Gesang brings up critical questions about the performer’s role, the nature of performance and of the musical work, and the existence of an authoritatively “authentic” interpretation. Employing an expanded definition of virtuosity that includes interpretation and encompasses both choices and actions, the document discusses the extensions of virtuosity into two main areas: first, memory; and second, staging and movement, covering both practical suggestions and larger implications. Finally, it examines how the performer’s negotiation of these challenges relates to questions about authenticity and agency. Performance is defined here as a creative and collaborative act, not attempting to duplicate previous performances or recordings, but rather to give the best realization of the piece possible in the given circumstances, according to the individual’s interpretation of the score’s directions. There is no single “authentic” interpretation, but rather a rich multiplicity of possibilities, and the performer’s creative agency and personal authenticity are necessary for the full realization of the work.

A primeira parte deste trabalho refere-se ao relatório de estágio, realizado na Escola de Música Nossa Senhora do Cabo em Linda-a-Velha, no âmbito da unidade curricular de Prática de Ensino Supervisionada no Ensino Vocacional de Música do Mestrado em Ensino de Música da Universidade de Évora, sob a orientação da Profª Drª Monika Streitová e da orientadora cooperante Profª Lídia Serejo. Visa enquadrar o universo da instituição, de seguida abordar mais especificamente a classe de flauta transversal, e registar os conhecimentos adquiridos e também as atividades desenvolvidas no âmbito desta parceria. A segunda parte mostra a investigação relativamente à abordagem pedagógica da linguagem musical contemporânea, analisando os benefícios e dificuldades da introdução de obras contemporâneas no ensino da flauta transversal, através de entrevistas realizadas a docentes do instrumento e de análise e pesquisa documental. Apresenta-se também uma recolha de obras contemporâneas portuguesas e a sua categorização por níveis de dificuldade; Report of “Prática de Ensino Supervisionada” at Escola de Música Nossa Senhora do Cabo (Linda-a-Velha) – The Pedagogical Approach to Contemporary Musical Language Abstract: The first part of this work refers to the internship report, carried out at “Escola de Música Nossa Senhora do Cabo” at “Linda-a-Velha”, within the scope of the curricular unit “Prática de Ensino Supervisionada no Ensino Vocacional de Música” in the Master Degree in Music Teaching at Universidade de Évora, under the guidance of Profª Drª Monika Streitová and the cooperative advisor Profª Lídia Serejo. It aims to frame the universe of the institution, then more specifically the flute class, and record the knowledge acquired and also the activities developed within the scope of this partnership. The second part shows the investigation regarding the pedagogical approach of contemporary musical language, analyzing the benefits and difficulties of the introduction of contemporary pieces in the flute teaching, through interviews with flute teachers, and documentary research. There is also a collection of contemporary portuguese pieces and their categorization by levels of difficulty.

O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L\'Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme Combier
The aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L\'Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier.

Este trabalho apresenta o estudo da música contemporânea escrita para a Flauta Transversal na Espanha. Centra-se nos eventos musicais, figuras mais representativas e focos de difusão musical de maior importância no século XIX na Espanha. Igualmente foram selecionados os estilos musicais mais influentes da Europa do século XX, que marcaram o ponto de partida de toda a música contemporânea escrita na península neste período. Foi realizado um estudo das principais obras do repertório espanhol contemporâneo escrito para Flauta Transversal. Apresentámos também uma análise estilística e interpretativa de duas obras selecionadas, em quais podemos detectar claramente a evolução tanto na linguagem musical quanto nas possibilidades sonoras do instrumento. Este trabalho baseia-se na necessidade de abrir uma porta para o conhecimento sobre música em Espanha escrita para Flauta Transversal nas últimas décadas do século XIX, bem como no início do século XX; RESUMEN: Este trabajo presenta un estudio de la música contemporánea escrita para Flauta Travesera en España, para ello se me ha echo imprescindible realizar un pequeño recorrido en torno a los acontecimientos históricos, musicales, figuras más representativas y focos de difusión musical de mayor importancia en el siglo XIX en España. Con Posterioridad realizo un pequeño estudio de las corrientes musicales más influyentes en Europa en el siglo XX, que marcaron el punto de inicio de toda la música contemporánea escrita en la península en este periodo. Ya para finalizar el proyecto, se lleva a cabo un estudio de las principales obras del repertorio cotemporáneo español escritas para Flauta Travesera y se realizará un pequeño análisis estlístico e interpretativo donde se podrá ver la evolución tanto en el lenguaje como en las posibilidades sonoras propias del instrumento. Todo este trabajo se fundamenta en la necesidad de abrir una puerta al conocimiento sobre la música en España escrita para Flauta Travesera en torno a las últimas décadas del siglo XIX así como a principios del siglo XX; ABSTRACT: This work presents a study of contemporary music written for Flute Travesera in Spain, for this I have made it essential to perform a short tour around the historical events, musicals, most representative figures and foci of musical diffusion of greater importance in the century XIX in Spain. Later I make a small study of the most influential musical currents in Europe in the twentieth century, which marked the starting point of all contemporary music written on the peninsula in this period. To finish the project, a study of the main works of the Spanish cotemporane repertoire written for Flute Travesera is carried out and a small statistical and interpretative analysis will be carried out where the evolution can be seen both in the language and in the sound possibilities proper to the instrument. All this work is based on the need to open a door to knowledge about music in Spain written for Flute Travesera around the last decades of the nineteenth century as well as at the beginning of the twentieth century.

Esta dissertação discorre sobre os problemas relativos à performance de três obras brasileiras do repertório contemporâneo para flauta solo: Les silences d´un étrange jardin de Silvio Ferraz, Variações de Marisa Rezende e Sete palavras e um punhal de Aylton Escobar. As obras foram analisadas sob a ótica da análise técnico-interpretativa, com destaque às questões relativas às técnicas expandidas para flauta. Investiguei os problemas técnicos de execução em minúcias e procurei descrever as soluções que agregassem o gestual sonoro ao físico. Concluo ressaltando a importância do relacionamento compositor-performer para a criação e execução deste repertório. De maneira geral, todas as três obras dão uma grande liberdade ao intérprete: Les silences destaca-se pela variedade de técnicas expandidas; a obra de Marisa Rezende apesar da simplicidade aparente pode ser interpretada virtuosisticamente enquanto Sete palavras e um punhal o principal desafio é a preparação dos tapes o uso da fala exigidas pela partitura, a qual os músicos não estão habituados.
This thesis deals with the performance problems of three contemporary works from the Brazilian repertoire for solo flute: Les silences d´un Étrange Jardin by Silvio Ferraz, Variações by Marisa Rezende and Sete Palavras e um Punhal by Aylton Escobar. The pieces were analyzed from a technical-interpretive point of view, with emphasis on extended technique for the flute. I investigated the technical performance practice problems thoroughly while seeking to encounter solutions which combine sonorous and physical gestures. In general, all the pieces give a great deal of freedom to the performer. Les silences displays a great variety of extended techniques while Rezendes work, in spite of its apparent simplicity, could be played with virtuosity. The two main challenges of Sete palavras e um punhal are the preparation of the tapes and with the use the spoken language during performance, a situation to which musicians are normally not accustomed. I conclude by emphasizing the importance of the performer-composer relationship in the creation and performance of this repertoire.

碩士
國立臺北藝術大學
音樂學研究所
99
The creation and publication of flute works in Taiwan are intimately related to the local development of Western music. The propagation of Western music to Taiwan started during the Japan colonial period, at which the musical education had been generally implemented. Accordingly, young musicians were continuously aspired to study in Japan. They brought back classical music from abroad and established Western music orchestras to hold concerts and let musicians have a stage to perform. However, these pioneering musicians mainly studied in piano, vocal, or other stringed instruments. Therefore, there was a lack of wind-instrument musicians and teachers in the early period of Taiwan. In the last decades, learning to play western music instruments has been widespread in Taiwan; in particular, the population of learning flutes is the largest among wind instruments. Numerous flute ensembles have been established and many concerts and competitions for flutes were developed to an unprecedented height during 1980s. Yet, most of the repertoires were from western and only a few local works had been composed. The contemporary flute works of Taiwanese composer began in 1960s. These works grew more matured in 1980s and the style of music has become abundant and diverse after 1990s. This dissertation has collected various types of flute works in Taiwan from1960 to 2010, especially focuses on solo pieces, duets, and concertos. Both the analyses and the performance practices of these collections are discussed, which mainly based on the interviewing of several senior musicians. The dissertation is expected to be the preliminary research for the history of contemporary flute works in Taiwan.

The purpose of this study is to provide an overview of contemporary flute repertoire by Canadian composers. Largely unknown outside of Canada, the works that are featured in this document represent a sampling of the diversity of styles and idioms in Canadian music. To provide a context for understanding current trends and directions in Canadian music, a brief history of music in Canada is summarized. This history discusses the strong link between the Canadian national character and the music that is the subsequent product. Seven works, representing a variety of styles and genres, are analyzed in detail to provide the potential performer with sufficient information and understanding of their idiom, construction, compositional style, historical context, and contemporary techniques. Brief biographies of each selected composer are also included. Both traditional and non-traditional methods of analysis are used as a means to provide an accurate description of each work. The Catalogue of Contemporary Canadian Flute Repertoire: A Performer's Guide, included in this document (Volume II) provides as comprehensive a listing as possible. It is this author's hope that by providing the resources to explore this large body of work, this deserving artistic output will receive greater recognition and increased performances both in the professional and academic worlds.

碩士
國立臺南藝術大學
中國音樂學系碩士班
102
This study explores the history of Dadi, a newly created Chinese low-pitched bamboo flute (including Gongdi and Wan Guan Di), and compares the difference between Dadi and other traditional Chinese flutes by analyzing the special playing techniques and popular sheet music for Dadi. Comparing with traditional flutes, Dadi is closer to the human voice, easier to achieve resonance, with a broader range of tone colors, and with more expressive dynamics. To examine structure and motivation of Tan Dun’s bamboo flute solo “Trace of Bamboo”, we investigated life, works and styles of the composer and then compared different playing styles of this piece interpreted by three generations of flute players: Yu Xunfa, Chen Tao and Tang Jun Qiao. Based on two score versions and recordings of the performance of the flutists, we developed an interpretation in a way that was much closer to what the composer intended and hope it serves as a reference guide for performers who will play “Trace of Bamboo”. In the Impromptu section, we compared the tablature version with that performed by the three soloists and coupled with our interpretation, which offered more melodic variation, to create a score more in line with Tan Dun’s expression of intention. Keywords: Dadi, Gongdi, Wan Guan Di, Trace of Bamboo, Tan Dun, Yu Xunfa, Chen Tao, Tang Jun Qiao, improvise.

碩士
國立臺灣藝術大學
戲劇學系表演藝術碩士班
103
In the recent years, western flute is often used in the composing or performing of the Chinese music, Yiu-Kwong Chung’s Whirling Dance and Flute Concerto are two examples. The cooperation between contemporary flutists and Chinese orchestras has brought the technique and sound of the two musical cultures to a brand new peak. However, while the differences between two cultures seem to be reduced, their sharing cultural identities remain uncertain and ambiguous. The question of how music could be interpreted by cross-cultural perspectives is opened and it needs to be discussed. This study begins firstly from two contextual backgrounds: to clarify the roles and the developing backgrounds of flutists, and to collect the records of the performances of contemporary flutists and Chinese orchestras; then, to observe the performing types of contemporary flautists and Chinese orchestras (using the Taipei Chinese Orchestra as an example) in the recent years. Secondly, to analyze the elements from the cultures of the Middle East in Whirling Dance and to understand how they are used and practiced during the process of performance; at the same time, from the practice of its modern technique, instrumentation and harmony of the Flute Concerto, this study also attempts to examine the process of cross-cultural interpretations of the East and West musical cultures. Finally, this study explores the relationship between modern flautists and Chinese orchestras; outlines its potential developments and directions and make possible suggestions.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism.
Graduate

O presente estudo, intitulado “Discurso musical e técnicas contemporânea(s) na pedagogia da flauta transversal: contributo para um catálogo de obras para o 6º, 7º e 8º grau” inscreve-se na problemática da melhoria das práticas pedagógicas no ensino da música. Procurou analisar e refletir sobre o impacto e utilização das técnicas estendidas na disciplina de flauta transversal nos Cursos Secundários Artísticos Especializados de Música. Esta pesquisa, de natureza qualitativa, centrada num estudo de caso, foi realizada, numa primeira fase, através de revisão bibliográfica, maioritariamente pelas obras publicadas pelos autores Pierre-Yves Artaud e Robert Dick. Foi também elaborada uma análise ao programa de flauta transversal proposto pelo Conservatório de Música de Lisboa em 1989. Por fim, consideraram-se os seguintes aspectos: contexto histórico, cultural, musical e pedagógico de Portugal. Esta reflexão teve como objetivo último compreender as necessidades e carências atualmente existentes no ensino da flauta transversal no país. Este estudo de caso foi complementado por uma estratégia metodológica de natureza qualitativa (o inquérito por questionário), aplicado a 12 professores de flauta transversal que lecionam em Portugal e desenvolvido de forma a entender qual a relação que os mesmos têm com as técnicas e a linguagem contemporânea. As técnicas de análise, tratamento e interpretação de dados foram executadas através da comparação dos resultados, por análise estatística e de conteúdo das respostas. Os resultados obtidos permitem concluir que existem preocupações generalizadas na abordagem à linguagem contemporânea, assim como também das técnicas estendidas no ensino da flauta transversal em Portugal. Também foi possível apurar os significativos contributos no reforço e no desenvolvimento de algumas competências fundamentais ligadas ao: som, dinâmica, afinação, mecanismo, flexibilidade, articulação e apoio através do trabalho das técnicas estendidas. Desta forma, é proposto uma lista de obras para flauta transversal que possuem técnicas estendidas a serem abordadas dentro deste âmbito académico para o 6º, 7º e 8º grau do curso secundário. Este conjunto de obras foram selecionadas através da adequação técnica capaz e benéfica de forma a proporcionar uma nova perspectiva no alargamento da aprendizagem da flauta transversal.
This study, entitled "The musical discourse and contemporary techniques(s) in the pedagogy of flute: contribution to a catalog of works for the 6th, 7th and 8th grade" is part of the problem of improving pedagogical practices in music education. Sought to analyze and reflect on the impact and use of extended techniques in the discipline of the transverse flute Courses Artistic Secondary Specialized Music. This research was qualitative; focusing on a case study was performed in the first phase a literature review, mainly through the works published by Pierre-Yves Artaud and Robert Dick. Was also prepared an analysis of the flute program proposed by the National Conservatory of Music in 1989 finally took into consideration the following aspects: historical, cultural, musical and pedagogical context of Portugal. This reflection was the ultimate goal, to understand what the needs and currently shortcomings in teaching flute in the country. This case study was complemented by a qualitative methodological strategy (the questionnaire survey), applied to 12 teachers who teach flute in Portugal and developed in order to understand what relationship they have with the techniques and contemporary language. Analysis techniques, processing and interpretation of data were done by comparing the results before a statistical and content analysis of responses to surveyed. The results allow us to conclude that there is currently widespread concern in the approach to contemporary language but also of extended techniques in teaching the flute in Portugal. It was also possible to determine the significant contributions in strengthening and developing some key skills related to: sound, dynamics, pitch, engine, flexibility, coordination and support through the work of extended techniques. Thus, we propose a list of works for flute which have extended to be addressed within this academic context for the 6th, 7th, 8th grade and teaching techniques. This set of works were selected through a technical adequacy able and beneficial to provide a new perspective on the wider learning the flute.