Academic literature on the topic 'Flautists'
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Journal articles on the topic "Flautists"
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RIIKONEN, TAINA. "Shared sounds in detached movements: flautist identities inside the ‘local-field’ spaces." Organised Sound 9, no. 3 (2004): 233–42. http://dx.doi.org/10.1017/s1355771804000421.
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This article explores the spatial identities of the flautists in playing Kaija Saariaho's music with live electronics, particularly reverberation and harmonisation. The varying spatial position of the flautists are theorised mainly via two approaches: that of ‘local/field’ concepts by Simon Emmerson, and through the philosophy of narrative identity developed by Paul Ricoeur. The article investigates the flautists' experiences of control over the sound, and especially its most intimate form, direct control, by discussing the relationship between the choices of live flautist and the sound director. The sound result is constantly negotiated by several authorial activities, the contributions of which are closely overlapping and conversing with each other.
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Parunov, V. A., Tatiana M. Fedotova, and I. Y. Lebedenko. "Is temporomandibular disfunction an occupational disease of flautists?" Russian Journal of Dentistry 24, no. 4 (2020): 266–72. http://dx.doi.org/10.17816/1728-2802-2020-24-4-266-272.
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Wind instrumentalists are prone to a number of occupational hazards that can lead to occupational diseases. C. Zaza defined these diseases as playing-related musculoskeletal disorders (PRMD). Such occupational diseases are devastating for musicians in terms of psychological health and financial state.
 According to various epidemiological studies, 6286% of orchestra musicians experienced PRMD. Particularly the pressure of the mouthpiece on the lower incisors of wind instrumentalists leads to their movement and provoke periodontal diseases. Moreover, wind instrumentalists place themselves at risk of allergies and galvanism. Musicians do not seek for dental help due to the fear of spoiled embouchure (habitual position of the cheeks, tongue, and lips while playing) in spite of the range of specific oral pathologies. Flautists are of particular interest to dental practitioners because they are subjected to several risk factors; in addition to the mouthpiece pressure, they often hold instruments in an asymmetric posture, and in constrained spaces, being surrounded by the other orchestra musicians.
 To learn more about the occupational hazards of flautists, we searched for the relevant literature in the central research medical library and for articles in databases eLIBRARY, PubMed, and ResearchGate using the following keywords: wind instrumentalists, flute, temporomandibular disorders, and playing-related musculoskeletal disorders.
 Some studies claim that the asymmetric posture of flautist, especially in cramped conditions, affects the musicians health and leads to PRMD. Nevertheless, this research topic has been neglected, and published studies lack a strong methodology, explaining why they fail to show a strong association between TMD and flute playing. Therefore, further research is needed.
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Artigues-Cano, Isabel, and Howard A. Bird. "Hypermobility and Proprioception in the Finger Joints of Flautists." JCR Journal of Clinical Rheumatology 20, no. 4 (2014): 203–8. http://dx.doi.org/10.1097/rhu.0000000000000109.
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Stanhope, J., and S. Milanese. "The prevalence and incidence of musculoskeletal symptoms experienced by flautists." Occupational Medicine 66, no. 2 (2015): 156–63. http://dx.doi.org/10.1093/occmed/kqv162.
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McGeary, Thomas. "Music, men and masculinity on the Grand Tour: British flautists in Italy." Early Music 49, no. 1 (2021): 101–28. http://dx.doi.org/10.1093/em/caab023.
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Abstract The Grand Tour was the highpoint of the education of the sons of many members of the British upper classes. Despite its contributions to British culture, the Tour came in for contemporary objection and satire. More recently Richard Leppert has used his construct of 18th-century British ideology of gender, class and music to argue that men’s musical activities on the Tour were devalued. This article re-assesses the role of music-making of males on the Grand Tour. It questions the basis of Leppert’s account, and documents an array of paintings depicting Grand Tourists with instruments. The paintings range from highly finished, formal portraits by Pompeo Batoni, to the personal caricatures by Joshua Reynolds, and the informal chalk sketches by Thomas Patch. The article also uses the newly discovered account book of the Hon. Charles Stanhope to show the attention and expenses he devoted to music while on his Grand Tour.
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Leukel, Winfried, and Thomas Stoffer. "The Influence of Harmoniccontext on the Tuning of Thirds Played by Professional Flautists." Psychology of Music 32, no. 1 (2004): 75–88. http://dx.doi.org/10.1177/0305735604039283.
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Riikonen, Taina. "Shaken or stirred – virtual reverberation spaces and transformative gender identities in Kaija Saariaho's NoaNoa (1992) for flute and electronics." Organised Sound 8, no. 1 (2003): 109–15. http://dx.doi.org/10.1017/s1355771803001122.
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Kaija Saariaho's NoaNoa for flute and electronics consists of two materials: the live flute part and the electronic component, which can be further divided into real-time and pre-recorded material. The sound mixtures of live instrument, pre-recorded material, and real-time electronics create diverse instrumental positions, which also have effects on the musician's experiences of self and gender. This article examines the live flautist's embodied identity during the real-time reverberation and the pre-recorded part. Different performances of NoaNoa by different performers introduce diverse embodied flautist identities where the negotiations of gender and self are constantly redefined.
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Spence, Cari. "Prevalence Rates for Medical Problems among Flautists: A Comparison of the UNT-Musician Health Survey and the Flute Health Survey." Medical Problems of Performing Artists 16, no. 3 (2001): 99–101. http://dx.doi.org/10.21091/mppa.2001.3017.
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The purpose of this study was to identify prevalence rates of medical problems among flautists. The Flute Health Survey (FHS), a questionnaire with items regarding musculoskeletal and nonmusculoskeletal problems, was distributed at the 1999 National Flute Association annual meeting (n = 40). This questionnaire was pilot tested at the 1999 Texas Flute Festival, which is hosted by the Texas Flute Society. The University of North Texas has posted on the Internet a similar questionnaire regarding the medical problems of all musicians. Responses from the University of North Texas Musician Health Survey (UNT-MHS) were filtered to include only those respondents who denoted flute as their primary instruments (n = 328). Data sets from both surveys were then processed using comparative statistics. Findings show that there was no significant difference between the demographics of the two populations. Only one musculoskeletal site, the left hand, was found to be statistically significant between the two groups. Four nonmusculoskeletal items, depression, earache, headache, and sleep disturbances, were found to be different between the two groups. The overall findings of this comparison show that there are many medical problems facing the flute playing community. Further investigation and observations of this population are necessary.
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Inoue, A., A. Shoji, and T. Fujita. "Flautist's chin." British Journal of Dermatology 136, no. 1 (1997): 147. http://dx.doi.org/10.1111/j.1365-2133.1997.tb08778.x.
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O'Loughlin, Niall, Johann George Tromlitz, and Ardal Powell. "The Diligent Flautist." Musical Times 133, no. 1790 (1992): 182. http://dx.doi.org/10.2307/965723.
Full textDissertations / Theses on the topic "Flautists"
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Sarmento, Luciano Cândido e. "Altamiro Carrilho: flautista e mestre do choro." reponame:Repositório Institucional da UFBA, 2005. http://www.repositorio.ufba.br/ri/handle/ri/9153.
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Previous issue date: 2005<br>Esse estudo tem como objetivo uma observação sistemática da trajetória artístico/profissional de Altamiro Carrilho, envolvendo idéias e valores da prática musical no choro. Com base em um estudo biográfico, podemos considerar Carrilho um intérprete de grande relevância para o gênero. Este trabalho foi realizado a partir de pesquisa bibliográfica, análise de gravações e partituras, entrevista, análise de e material didático produzido por ele. Dessa forma, foi possível apontar características relevantes de sua interpretação no choro, abrindo um leque para novas observações a respeito da performance neste gênero. A partir desta pesquisa, foi possível entender elementos fundamentais da performance no choro, além disso, obter dados históricos e musicais, que nos permitem vislumbrar a prática musical neste contexto, através dos conceitos e da experiência de Carrilho.<br>Salvador
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Borràs, Julibert Fedra. "Avaluació d’un programa d’educació psicofísica per a flautistes." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/393873.
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El desenvolupament de la consciència corporal en la pràctica d’un instrument musical ha esdevingut objecte d’interès emergent en l’àmbit de la investigació acadèmica. Cada dia hi ha més músics instrumentistes que practiquen i es formen en els anomenats mètodes de consciència corporal, i investiguen els aspectes beneficiosos que aquests mètodes poden aportar a la seva pràctica instrumental.
Aquesta tesi s’emmarca en aquest context i avalua un Programa d’Educació Psicofísica per a Flautistes basat en el mètode Cos-Art i en els requeriments corporals en la pràctica de la flauta travessera.
Els resultats obtinguts assenyalen que aquest programa afavoreix la presa de consciència d’un millor ús corporal, incideix en l’adquisició d’hàbits saludables, proporciona millores tècnicomusicals i aporta una ampliació de recursos de cara a la pràctica docent.<br>El desarrollo de la conciencia corporal en la práctica de un instrumento musical se ha convertido en objeto de interés emergente en el ámbito de la investigación académica. Cada día hay más músicos instrumentistas que practican y se forman en los llamados métodos de conciencia corporal, e investigan los aspectos beneficiosos que estos métodos pueden aportar a su práctica instrumental.
La presente tesis se enmarca en este contexto y evalúa un Programa de Educación Psicofísica para Flautistas basado en el método Cos-Art y en las demandas corporales en la práctica de la flauta travesera.
Los resultados obtenidos indican que este programa favorece la toma de conciencia de un mejor uso corporal, incide en la adquisición de hábitos saludables, proporciona mejoras técnico-musicales y aporta una ampliación de recursos para la práctica docente.<br>The development of body awareness in the practice of a musical instrument has become an emerging interest in the field of academic research. Every time there are more and more instrumentalist musicians who rehearse and are being formed in the so-called methods of body awareness and they are doing research on the beneficial aspects that these methods can bring to the practice of their instruments.
This thesis is framed in this context and it evaluates a Psychophysical Education Program for Flute Players based on the Cos-Art method and on the corporal requirements in flute practice.
The results indicate that this program promotes a better awareness of the use of the body, it enhances the acquisition of healthy habits, it provides technical musical improvement and it gives a wide range of teaching resources.
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Homem, Fernando Pacifico. "Expedito Vianna: um flautista à frente de seu tempo." Universidade Federal de Minas Gerais, 2005. http://hdl.handle.net/1843/AAGS-7YMJ22.
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Expedito Vianna was an extremely active and influential flutist and teacher in Belo Horizonte, MG (Brazil) and Salvador, BA (Brazil) from the 1960's to the 1980's. Through pioneer research, he proposed methodologies for the study of the flute, that were before their time in Brazil. Some of his techniques, such as the use of phonemas, rhythmic dislocation, and transposition, once considered innovative, still serve as important tools for his former students in their professional lives today. Expedito Vianna was not only ahead of the Brazilian flutists of his generation, but his ideas were so ahead of his time that even today they remain current. Many flutists and teachers around the worfd today utilize similar techniques and pedagogic practices. Four of Vianna's main pedagogic techniques will be discussed in this study: altering sound quality through the use of vowels, solving difficult excerpts from the flute repertoire by re-grouping notes, the application of Marcel Moyse's sonority exercises for difficult flute passages, and tonal studies based on transposing melodies. Vianna's work will be compared with that of other present-day flutists and authors to show its validity within the broader spectrum of modem flute teaching. Vianna never concerned himself with seeking musical acclaim or stardom in the flute world. His ideas spread simply because they constitute effective educational tools. Several of his former students occupy important professional positions throughout Brazil today, which is the greatest proof of the effectiveness of his ideas.<br>Expedito Vianna foi um flautista e professor com expressiva atuação em Belo Horizonte MG e Salvador BA entre as décadas de 60 a 80 do século passado. Através de um trabalho de pesquisa pioneiro no Brasil, propôs metodologias, até então, inéditas para o estudo da flauta transversal. Técnicas de utilização de fonemas, deslocamento rítmico e transposição não somente foram inéditas no Brasil em seu tempo, como também continuam a fornecer ainda hoje importantes ferramentas para seus ex-alunos em atividade profissional. Expedito Vianna esteve à frente de seu tempo e de seus colegas brasileiros de sua geração. Suas idéias continuam atuais. Ainda hoje diversos flautistas e professores ao redor do mundo vêm utilizando práticas pedagógicas e técnicas semelhantes. Abordamos as quatro principais propostas pedagógicas de Expedito Vianna: a alteração no timbre através da utilização das vogais, a aplicação dos estudos de sonoridade de Marcel Moyse no estudo de trechos difíceis do repertório, a solução de problemas técnicos através do reagrupamento de notas e o estudo de tonalidades baseado na transposição de melodias simples.
Confrontamos o trabalho de Vianna com o de outros autores e flautistas da atualidade para comprovar sua validade e inserção no panorama atual do ensino da flauta. Vianna nunca se preocupou em ser aclamado como uma estrela no mundo dos flautistas. Suas idéias se disseminaram porque constituem instrumentos didáticos eficazes. Vários de seus ex-alunos hoje ocupam importantes posições profissionais em várias partes do Brasil. Esta é, sem dúvida, a maior prova da eficácia de suas idéias.
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Meira, Sandra Alves. "Flautistas de Orquestra de Belo Horizonte: uma questão de memória." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/GMMA-7XRLHF.
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Many data concerning the origin and musical formation of the flutists of
orchestras in Belo Horizonte take the risk of getting lost with the passage of
the years. Inspired on this reality, this work tries to present a panorama with personal and professional data of the flutists members of the permanent group of the orchestras of Belo Horizonte and a historical profile of the researched symphony orchestras, as well. Besides, two other themes will be contemplated in that research: the preservation of the cultural patrimony, being the flutists of orchestra as focus and the whole of the orchestras as a work place for the flutists in Belo Horizonte. We wish that the presented data can be useful as instrument for new researchers and that our contribution serves as incentive and inspiration for other initiatives in this area.<br>Muitos dados acerca da origem e formação musical dos flautistas de orquestras de belo horizonte vêm se perdendo ao longo dos anos. Tendo em vista essa realidade, este trabalho procura apresentar um panorama com dados pessoais e profissionais dos flautistas integrantes do quadro permanente das orquestras de belo horizonte, bem como um histórico esclarecedor acerca das orquestras sinfônicas da capital mineira Além disso, dois outros temas vão ser contemplados nessa pesquisa: a preservação do patrimônio cultural, tendo os flautistas de orquestra como foco e o papel das orquestras como postos de trabalho para os flautistas de belo horizonte. Esperamos que os dados aqui apresentados sejam úteis como instrumentos para novos pesquisadores e que nossa contribuição sirva de incentivo e inspiração para outras iniciativas nesta área.
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Teixeira, Ziliane Lima de Oliveira. "Alteração funcional/dor na cervical e cintura escapular de flautistas." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7134.
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Mestrado em Música<br>A prática da flauta transversal requer uma postura corporal assimétrica. Esta poderá, a longo prazo, conduzir ao desenvolvimento de distúrbios músculo-esqueléticos e dor, que por sua vez, poderão condicionar a qualidade do desempenho musical do instrumentista. Torna-se pois importante monitorizar hábitos posturais e suas consequências na prática da flauta transversal. Este estudo tem como objetivos: (i) investigar a postura da cabeça e da omoplata, a perimetria do braço e a força muscular de rotação interna e externa do ombro dos flautistas; (ii) compreender se diferentes níveis de prática da flauta influem nestes parâmetros; (iii) investigar a associação entre alterações posturais e a presença e intensidade da dor.
Medidas estandardizadas da postura da cabeça e omoplata, perimetria dos membros superiores e força muscular de rotação interna e externa do ombro foram comparadas entre flautistas com prática instrumental igual ou inferior a 10 anos, flautistas com mais de 10 anos de prática instrumental e outros músicos que não requerem uma posição assimétrica no desempenho do seu instrumento (i.e. grupo de controlo, constituído por cantores). A localização e intensidade da dor foram avaliadas através de uma versão adaptada do Nordic Musculoskeletal Questionnaire e uma versão adaptada do Neck Disability Index.
Registou-se uma maior anteriorização da cabeça dos flautistas comparativamente ao grupo de controlo. Estas alterações posturais revelaram-se mais significativas no grupo com 10 ou menos anos de prática da flauta. Sendo assim, os resultados sugerem que o número de anos de prática instrumental não parece contribuir para o desenvolvimento de maiores alterações posturais, assimetrias corporais, diferenças na força muscular nem para um aumento da prevalência da dor.<br>As playing the flute requires an asymmetrical body posture, in the long term, musculoskeletal disorders might be developed and lead to pain, which, in turn, may have a negative impact on musical performance quality. Thus, the assessment of postural deviations amongst flutists is of outmost importance to guarantee optimal performance.
This study aims to: (i) describe the head and scapular postures, upper arm perimetey and internal and external rotational force of the shoulder; (iI) understand whether years of practice might influence the mentioned parameters; (ii) investigate whether there is an association between postural changes and presence and intensity of pain.
Standard measurements of head and scapular posture, upper arm perimetry and internal and external rotational muscular force of the shoulder were compared between flutists with less than 10 years of instrumental practice, flutists with more than 10 years of instrumental practice and other musicians who do not require an asymmetric position when performing (i.e. the control group, constituted by singers). The location and severity of pain were evaluated using modified versions of the Nordic Musculoskeletal Questionnaire and of the Neck Disability Index.
Flutists showed a significantly more forward head posture than control group. These postural changes proved to be more significant in the group with less than 10 years of practicing the flute. Results suggested years of instrumental practice did not seem to contribute to greater postural deviations, nor to body asymmetries, or changes in muscular force or an increase in the prevalence of pain.
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Vieira, Júnior Eduardo Quintão. "SUBSÍDIOS PARA O APERFEIÇOAMENTO TÉCNICO E PRÁTICO DE UM FLAUTISTA PROFISSIONAL." ESCOLA DE MÚSICA, 2015. http://repositorio.ufba.br/ri/handle/ri/19390.
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Submitted by Eduardo Vieira Júnior (eduardoqflute@hotmail.com) on 2016-06-04T18:34:36Z
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pesquisa realizada com o objetivo de fornecer ferramentas para o desenvolvimento
técnico e artístico do flautista. A pesquisa foi desenvolvida em duas etapas: Na
primeira etapa, foi elaborado um Guia de estudo simples e prático para a sonoridade
na flauta, que tem como público alvo estudantes de flauta de nível intermediário,
buscando direcionar os seus estudos e prática diária, objetivando o desenvolvimento
de uma sonoridade em nível profissional e que funcione dentro do contexto musical
de flautistas de orquestras sinfônicas. Esse guia busca direcionar o estudante a
desenvolver uma sonoridade mais consciente. Na segunda etapa, foi elaborado um
que artigo visa apenas apontar e argumentar como alguns fundamentos da Técnica
de Alexander podem ser úteis no processo de estudo e performance do flautista,
proporcionando uma postura menos agressiva para a saúde do corpo. Além de
estimular a procura por alguma atividade que proporcione consciência corporal, o
artigo visa ainda conscientizar os flautistas de que aspectos posturais são
importantíssimos para uma vida profissional longa e produtiva.<br>In this Course Conclusion work are presented the results of a research
performed in order to provide tools for the technical and artistic development of the
flute player. The research was made in two phases: in the first, it was elaborated the
Simple and Practical Study Guide for the flute‟s sonority. The target audience is
students of flute in the intermediate level. It aims to give directions for their studies
and daily practices and also for the development of sonority in professional level,
working into a musical context of flute players in Symphonic Orchestra. This Guide
aims to direct the students in the process of developing a more conscious sonority. In
the second phase, it was elaborated an article that intends to point out and discuss
how some fundaments of Alexander Technique can be useful in the process of study
and performance of the flute player. It provides a less aggressive posture to the
body‟s health. Besides, it stimulates looking for some activity that offers corporal
consciousness. The article still aims to make flute players aware of postural aspects,
which are extremely important for a long and fruitful professional life.
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Benatti, Stefânia Coppo Ribeiro. "Estudo do flautim pelo flautista: diferenças de abordagens técnicas com fins interpretativos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7669.
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Previous issue date: 2017-03-31<br>The piccolo has been used just recently for recitals and chamber music all around the world. Therefore, its presence in the orchestral scene became notable mostly on 20th c. composers, such as Shostakovich. With the recent use of the instrument as a soloist within and without the orchestra, raises the necessity of a specific formation for piccolo, regardless of the flute. Lately, orchestras search for professional piccolo players, not flute players that can eventually play the piccolo when they are required. There is an extensive market out there for a good piccolo player, but it requires a deep knowledge about the instrument. On this paper, I display an investigation of the parameters of the embouchure, sonority, articulation and intonation, grounded in the methods for flute Méthode Complète de Flûte (1958) by Paul Taffanel and Phillipe Gaubert, De La Sonorite: Art et Technique (1934), by Marcel Moyse, and for piccolo The Mazzanti Method (2011), by Nicola Mazzanti and Practice Book for the Piccolo (1988), by Patricia Morris e Trevor Wye. After the research, made by this author, about the difference presented in the methods between the piccolo and flute parameters, were defined the differences in the application of these elements in the piccolo. The partial result was a study of excerpts of selected works for piccolo, considering the particularities found about the execution of the instrument. This research has as goal to help the flutist having a specific piccolo study, respecting its execution particularities and making possible a development that is both effective and independent of the flute.<br>O flautim é um instrumento de uso recente nos palcos de recitais e música de câmara de todo o mundo. Já a sua presença no quadro orquestral passou a ganhar destaque principalmente com compositores do século XX, como Shostakovich. Com a recente utilização do instrumento como solista dentro e fora da orquestra, surge a necessidade de uma formação específica do flautim independente da flauta. Atualmente, orquestras procuram flautinistas profissionais e não mais flautistas que tocam flautim quando necessário. O mercado de trabalho para um bom flautinista é muito extenso, mas isso exige que ele tenha um profundo conhecimento
sobre o instrumento. Neste trabalho, apresento uma investigação a partir dos parâmetros embocadura, sonoridade, articulação e afinação, amparada pelos métodos de flauta Méthode Complète de Flûte (1958), de Paul Taffanel e Phillipe Gaubert, De La Sonorite: Art et Technique (1934), de Marcel Moyse, e de flautim The Mazzanti Method (2011), de Nicola Mazzanti e Practice Book for the Piccolo (1988), de Patricia Morris e Trevor Wye. Após análise das diferenças descritas nos métodos entre os parâmetros do flautim e da flauta, definiram-se as diferenças da aplicação desses elementos no flautim. O resultado parcial foi um estudo de trechos de obras selecionadas para flautim, levando-se em conta as particularidades encontradas sobre a execução do instrumento. Essa pesquisa tem como objetivo ajudar o flautista a um estudo específico do flautim respeitando suas particularidades de execução e possibilitando um desenvolvimento eficaz e independente da flauta.
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Moreira, Thais Fernandes Rodrigues dos Santos. "Solo dos Choros nº6 de Villa-Lobos : construção da performance por flautistas profissionais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/70230.
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O presente trabalho tem como objetivo compreender o processo de construção de uma performance através da observação do estudo de flautistas profissionais que atuam em orquestras brasileiras. Para isso, foram selecionados três flautistas com o cargo de 1ª flauta. Foram utilizadas as técnicas de pesquisa, entrevistas semiestruturadas e gravações das sessões de estudo, nas quais os flautistas foram incentivados a mencionar os problemas com os quais se deparavam e como faziam para resolvê-los, no solo inicial do Choros nº 6, de Heitor Villa-Lobos. O referencial teórico foi construído através do estudo de modelos das pesquisas empíricas existentes na área e, a partir dele, foi elaborado um modelo próprio de análise. Dessa forma, foi possível identificar as estratégias de estudo utilizadas por cada um dos participantes e verificar qual a importância dada a cada uma delas, além de analisar a construção de cada performance, utilizando como referência o estudo de Chaffin e Imreh (2001). Entendemos que cada flautista, apesar de variadas semelhanças, construiu o seu estudo de forma diferenciada, uma vez que cada participante se atentou para um aspecto diferente de cada dimensão. As estratégias de estudos muitas vezes se repetiram durante a prática dos flautistas; entretanto, estratégias individuais também foram observadas. Além disso, é importante ressaltar que algumas dessas estratégias são específicas para o instrumento estudado.<br>The purpose of this study is to understand the process of building a performance by observing the practice of professional flutists working in Brazilian orchestras. Therefore, three principal flutists were selected. Technical research, semi-structured interviews and recordings of study sessions were used, in which the participants were encouraged to mention the problems they faced while performing the solo section of the Choros nº 6 solo by Heitor Villa-Lobos and how they solved them. The theoretical framework was based on studying models of empirical research in the area from which we built our own analytical model to identify the practice strategies used by each of the participants and check the importance given to each of the strategies, as well as analyzing the construction of each performance using the study by Chaffin and Imreh (2001). We understand that each flutist built his practice differently, since each participant focused on a separate aspect of each dimension. The study strategies were often repeated during the study. However, individual strategies were used by each participant in their own practice. We observed that some strategies are specific to the instrument in study.
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Furtado, Luís Carlos Vasconcelos. "Flautear : uma atividade muito além de “levar a vida na flauta” : a construção identitária do flautista brasileiro como trabalhador." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17817.
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Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, Programa de Pós-Graduação em História, 2014.<br>Submitted by Larissa Stefane Vieira Rodrigues (larissarodrigues@bce.unb.br) on 2015-01-30T11:01:40Z
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2014_LuísCarlosVasconcelosFurtado.pdf: 5347424 bytes, checksum: 293f62e97cbf6ec66a57da9289e60256 (MD5)<br>Diante da preocupação com as condições inerentes ao trabalho do flautista erudito profissional brasileiro, procurou-se saber quem é esse profissional, onde vive, atua, trabalha, como ele se vê e se identifica com a atividade. Para isso seria preciso conhecer e obter informações sobre a formação musical, o trabalho (atividades anteriores, atuais e projetos), as atividades cotidianas (locais, práticas e conhecimentos), as instituições voltadas à música e suas representatividades (significado, importância, participação e presença), em uma busca alicerçada, sobretudo, nas experiências desses músicos, em atividade ou não, famosos ou anônimos, na tentativa de identificar e construir percepções e imagens da atividade musical profissional na busca de respostas de uma representação individual e coletiva, como um sujeito inserido em seu mundo social. É claro que os resultados de questionamentos como estes poderiam nos levar a muitos lugares comuns. Sendo assim, por que dar continuidade a este projeto? Inicialmente, pelas preocupações já descritas. Em segundo lugar, pela pouca quantidade (ou quase inexistência) de pesquisas realizadas sobre seu trabalho. Por fim, pela necessidade de se conhecer melhor este profissional da música dentro do contexto social e histórico no Brasil. Tais fatos, reforçados pela inquietação que a expressão “levar a vida na flauta” desperta, sobretudo, diante da dedicação e do esforço despendidos para atingir os objetivos propostos para alcançar a profissionalização e se manter na atividade, foram preponderantes para voltar os olhos dessa investigação ao flautista profissional brasileiro. _________________________________________________________________________________ ABSTRACT<br>Given the concerns about the working conditions of the Brazilian scholar flautist, the study focused on the nature of these professionals; who they are, where they live and work, how they see themselves and their personal identification with the profession. In order to accomplish that, details were gathered about their personal and professional life. The discussed particular items included their academic musical formation, their work (past, current and future projects), routine activities (places, practices and knowledge), their involvement with different musical institutions and their representativeness (meaning, importance, participation and presence). The foundation of the study was the built experience of the musicians, regardless of their current status or fame. The aim of the study was to firstly identify the images and perceptions of the professional activity of the musician and posteriorly construct both the individual and the collective representations of the individual inserted into their social circle. One obvious risk of the study was to reach commonplace conclusions, so why extend the project? Firstly, without the study, the above concerns would still be vivid. Secondly, there are almost no studies about the practice of the Brazilian flautist, so the current debate is shallow. Finally, the study would better clarify historic and social aspects of these professionals. In Brazil, the expression “to live upon the flute” hints an easy and joyful life, however, the truth is quite contradictory. The Brazilian flautist usually spends a lot of time and effort to gain a professional status and has to go even further to maintain it. The unresting features of this contradiction, together with the lack of studies in this field were preponderant to kick-start this investigation.
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Pairol, Fernanda de Oliveira. "Implicações pedagógicas da correlações entre a oclusão dentária e a formação da embocadura do flautista." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-12012016-093028/.
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O ensino de flauta transversal está embasado em correntes pedagógicas divergentes, provenientes da experiência pessoal e profissional de flautistasprofessores que tinham pouco conhecimento a respeito da oclusão dentária, como Quantz (1752), Tromlitz (1791), Boehm (1871) e Mather (1981). O objetivo deste trabalho foi contribuir para a pedagogia da flauta transversal, tendo como premissa a consideração das classes de oclusão dentária dos flautistas. Para isso, apresentamos primeiramente uma introdução ao conceito de oclusão dentária, aplicado à prática da flauta transversal, e a revisão da literatura sobre o assunto. Depois dessa introdução, apresentamos estudos de caso, buscando elucidar a correlação entre a oclusão dentária e a embocadura de três flautistas com diferentes classes de mal-oclusões de Angle (1907). Finalizamos discutindo as implicações pedagógicas decorrentes.<br>The flute teaching is mostly based on divergent pedagogical trends, from the personal experience of flutists teachers who had little knowledge about the dental occlusion, as Quantz (1752), Tromlitz (1791), Boehm (1871) and Mather (1981). This thesis aims to develop a flute pedagogy premised on the consideration of flute players dental occlusion classes. To do this, first we present an introduction to the concept of occlusion, applied to the practice of flute, and a review of the literature on the subject. After this introduction, we present case studies to elucidate the correlation between dental occlusion and the embouchure of three flute players with three different types of malocclusion according to Angle´s classification (1907). We conclude with enumeration of the pedagogical implications.
Books on the topic "Flautists"
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Scott, Stuart. Hallé flutes: Flautists of the Hallé Orchestra 1858-93. S.J. Scott, 1998.
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Scott, Stuart. Hallé flutes: Flautists of the Hallé Orchestra 1858-93 [sic]. S.J. Scott, 1998.
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ill, Vila Delclòs Jordi, and Domínguez Madelca, eds. El flautista de Hamelín. Scholastic, 2007.
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ed, Melendres Jaume, and Berga Carles part, eds. El retaule del flautista. Edicións 62, 1996.
Find full textBook chapters on the topic "Flautists"
1
Penny, Jean. "Amplified Breath – (Dis)Embodied Habitat: Exploring Sonic Interfaces of Performance, Electronics, Space and Flautist Identity." In Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music. Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02518-1_17.
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Miller, Sue. "Charanga Embalao." In Improvising Sabor. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832153.003.0007.
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This chapter features the work of charanga flute player Johnny Pacheco in New York before he became known as the creator of the Fania All Stars, and also the work of pianist Charlie Palmieri and his Charanga La Duboney. The Puerto-Rican brothers Eddie and Charlie Palmieri have been highly influential in the development of Latin music in the United States. While Eddie Palmieri’s La Perfecta utilized the charanga flute of George Castro, Charlie Palmieri’s charanga (one of the first to play the Palladium), featured flautists Johnny Pacheco and Rod Lewis Sánchez. Flute solos by Pacheco and Sánchez on the Charanga Duboney recordings of ‘Bronx Pachanga’ and ‘Mack the Knife’ are analyzed here to ascertain whether a distinctive New York sabor is present.
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Riikonen, Taina. "Stories from the Mouth: Flautists, Bodily Presence and Intimacy in Saariaho's Flute Music." In Kaija Saariaho: Visions, Narratives, Dialogues. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-4.
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Upitis, Rena. "Performance." In This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0006.
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This chapter introduces the many ways of experiencing live performance in school settings, with special emphasis on one of the main performance venues that was developed at the school where the activities described in this book took place. The school’s short, weekly “recess concerts” featured a variety of works, including guest performances by vocalists, flautists, and a French horn player from the community. Children played recorders, Orff instruments, piano, and flute, and they sang and narrated computer compositions, featuring both their own compositions and other repertoire. In emulating concert-going behavior outside of school, children were required neither to attend nor to perform. The role of audience members, as both supportive and critical, is also discussed in terms of creating a culture for children’s compositions. The nature of an informed audience, with ways of fostering such an audience through classroom interactions, is a construct that is woven throughout the chapter.
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Lapidus, Benjamin. "Latin music education in new york." In New York and the International Sound of Latin Music, 1940-1990. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0001.
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This chapter details the longstanding formal and informal Latin music education settings and networks in New York City, as well as some of the ways in which the musicians benefited from them. It introduces three Puerto Rican women, from the 1920s through 1950s, who taught some of the greatest pianists to emerge from the New York scene. The chapter then presents a Panamanian pianist and a Cuban flautist who imparted musicianship, theory, and piano lessons to countless musicians who were influential performers, composers, and arrangers. The Afro-Latin folkloric music scene in New York was an incubator for musical innovation and preservation; musicians from across ethnic groups have studied, performed, and recorded ritual and folkloric genres. New York City, unlike sites within the Caribbean, offered a wide range of formal and informal study opportunities for musicians from throughout the Caribbean. It explores some of the institutions that served as meeting grounds for musicians, and provided both rehearsal and performance opportunities for aspiring musicians.