Dissertations / Theses: 'Flöte'

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Drude, Matthias. "Sonate für Flöte solo (1986-87)." Matthias Drude, 1987. https://slub.qucosa.de/id/qucosa%3A72474.

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Die Sonate für Flöte solo, 1986 – 87 für die hannoversche Flötistin Barbara Hannemann komponiert, besteht aus einem gut dreiminütigen Allegretto, dessen spielerisch-heiterer, an Hindemith gemahnender Anfang eine eher harmlose, unkomplizierte Musik erwarten lässt (diese Erwartungshaltung wird wenigstens teilweise enttäuscht) und einem mit gut fünf Minuten ausgedehnteren zweiten Satz, in dem sich ruhige Partien (Andante) und schnelle Partien (Allegro) abwechseln. Eine wichtige Idee des Werkes ist die der „latenten Mehrstimmigkeit“, also der Vortäuschung von Zwei- oder sogar Dreistimmigkeit in einem – instrumentenbedingt - real einstimmigen Satz. Diese wird vor allem im ersten Allegro-Abschnitt, einem Fugato, realisiert. Das geschieht durch den raschen Wechsel unterschiedlicher Lagen, Lautstärken und Artikulationen, die für jeweils unterschiedliche Stimmen stehen.

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Drude, Matthias. "Duo für Flöte und Klavier (1989)." Matthias Drude, 2020. https://slub.qucosa.de/id/qucosa%3A72468.

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Das „Duo für Flöte und Klavier“ (1989) ist das zweite Werk des damals in Hannover lebenden Komponisten Matthias Drude (geb. 1960) für diese Duobesetzung. Gegenüber der Fantasie für Flöte und Klavier (1985-86) ist es mit ca. 12 Minuten deutlich länger und extrovertierter als das Vorgängerwerk. Einem Maestoso-Thema im fortissimo, das die hohe Lage der Flöte mit der tiefen Lage des Klaviers kombiniert, steht ein zweites langsameres und intimeres Thema gegenüber, bei dem der Solist in den geöffneten Flügel hineinblasen soll. Das „Duo“ ist auch durch die Idee der „Mehrsätzigkeit in der Einsätzigkeit“ angeregt. So folgt in der Mitte des Werkes auf einen langsamen Abschnitt ein Scherzando-Abschnitt im 6/8-Takt mit fugierten Partien, der im weiteren Verlauf mit dem emphatischen Hauptthema kombiniert wird. (Computer-Notensatz: September 2020)

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Drude, Matthias. "Fantasie für Flöte und Klavier: (1985/86)." Matthias Drude, 2018. https://slub.qucosa.de/id/qucosa%3A17091.

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Die einsätzige Fantasie für Flöte und Klavier (1985-86) entstand als eine meiner ersten Arbeiten im Rahmen meines Aufbaustudiums Komposition bei Ulrich Leyendecker in Hamburg. Zu Beginn wird eine Tonfolge in Engführung imitiert, wobei die Flöte als Mittelstimme von den beiden Klavierlinien „eingepackt“ wird, ein Effekt, der auf eine Anregung meines Lehrers zurückgeht. Die schwebende Tonalität dieses Themas ist von F-Dur mit hinzugefügter kleiner Sexte des geprägt, eine Tongruppe, die bei aller harmonischen Freiheit für mich eine Art Klangzentrum bildete. Dass ein zweites zunächst vom Klavier allein vorgetragenes Thema in der Dominanttonart C-Dur steht, kann man als Anlehnung an die Sonatensatzform werten. Ein Triolenmotiv erinnert an die 9. Klaviersonate op. 68 von Alexander Skrjabin, aus der an späterer Stelle ein kurzes, wörtliches Zitat im Klavierpart erklingt. Bei der nochmaligen Durchsicht des Werkes fiel mir auf, dass die Fantasie stärker als frühere Kompositionen von mir bereits wesentliche Merkmale meines heutigen Stils in motivischer, rhythmischer und harmonischer Hinsicht enthält. Ich halte es für so interessant, dass ich mich 2017 entschieden habe, es abgesehen von redaktionellen Kleinigkeiten (Korrekturen offenkundiger Fehler, Ergänzung einiger Dynamik- und Artikulationsangaben, enharmonische Verwechslungen) unverändert im Notenschreibprogramm SIBELIUS neu zu setzen. Das Werk erschien 1992 auf meiner ersten CD „Kammermusik“.

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Drude, Matthias. "Trio für Flöte, Viola und Gitarre: (1986)." Matthias Drude, 2018. https://slub.qucosa.de/id/qucosa%3A17092.

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Das einsätzige Trio für Flöte, Viola und Gitarre (1986) habe ich während meines Kompositionsstudiums bei Ulrich Leyendecker in Hamburg für hervorragende junge Interpreten komponiert, die damit an „Jugend musiziert“ 1987 teilgenommen und das Werk bei einem Sonderkonzert während des Bundeswettbewerbs in Saarbrücken vorgestellt haben. Sparsam, aber doch mehr als sonst habe ich auf Wunsch der Interpreten in der Partitur spezielle Spieltechniken der Neuen Musik verwendet wie z. B. Klappengeräusche und einen Zweiklang bei der Flöte. Zentrales Motiv der gut fünfminütigen Komposition ist eine Wechselnoten- oder Trillerfigur, die sowohl flächig in den langsamen Partien als auch rhythmisch profiliert in den Allegro-Abschnitten eingesetzt ist. Dezember 2017 Matthias Drude

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Drude, Matthias. "wELten ERleBEn für Flöte, Violoncello und Klavier (2009)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237405411915-37535.

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In dem Titel "wELten ERleBEn" stecken - bei Berücksichtigung der Großbuchstaben - die Wörter ERBE und ELBE. Ein Beitrag zum Welterbetag 2009, in dem die Schönheit der Landschaft sowie ihre Bedrohungen (Hochwasserkatasgtrophe 2002, Bau der Waldschlösschenbrücke) zum Klingen gebracht wird, ohne den Hörer auf eine einseitige Deutung festzulegen. Uraufführung: 6. Juni 2009 in Dresden

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Hirschfeld, Caspar René. "Haiku IV: für Flöte solo (op. 66 b)." Caspar René Hirschfeld, 2020. https://slub.qucosa.de/id/qucosa%3A70682.

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Haiku IV für Flöte solo ist eines von mehreren Werken, in denen ich mich mit der japanischen Gedichtform des HAIKU außeinandersetze. Die Struktur 5-7-5, die in der Silbenanzahl dieser Gedichte zu finden ist und die direktheit des Ausdrucks werden auf musikalische Struktur übertragen.

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Rezende, Renan Felipe Santos. "A boa expressão ao cantar ou tocar: tradução comentada do Versuch Einer Anweisung Die Flöte Traversiere Zu Spielen de Quantz (extratos)." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8673.

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The proposal of this dissertation is a critical translation of five extracts from the Versuch einer Anweisung die Flöte traversiere zu spielen (essay of a method to play the flute), by Johann Joachim Quantz, published in Berlin in 1752. This work presents essential questions about the German Flute Technique and about the instrumental practices from the eighteenth century. It’s importance and influence is justified by it’s widely dissemination over the centuries after many different editions and translation to many languages form German to Japanese. Translate this work to Portuguese turn it possible the access of a Brazilian student to a fundamental primary fount of information about the musical practices of the eighteenth century. This translation was made from a compilation of the French (1752), the English (2001) and Spanish (2007) editions. For the comments, it was tried to do an immanent reading with the purpose of unveil the categorical connections the influenced Quantz in the construction of his technical and musical ideas. This reading embraced a aesthetical, historical and musical analysis of some specific parts of the treaty, based, mainly, on the technical and musical concepts of Taffanel e Gaubert (1958) and Henry Altès (1880), and on the historical and aesthetical perspectives of Enrico Fubini (1970, 2008) and Nikolaus Harnoncourt (1998). It can be understood then that the music and/or the flute learning, specifically, demands the development of a technique that can be only achieved through a widely human formation that could unite practical knowledge and academic formation, experience and knowledge. Music by Quantz aims to move human trough a sound that is based in expression, ideal the music can be made from sensitive and affective melodic conduction.
A proposta é realizar uma tradução comentada de cinco extratos do Versuch einer Anweisung die Flöte traversiere zu spielen (Ensaio de um método para tocar a flauta transversal), de Johann Joachim Quantz, publicado em Berlim no ano de 1752. Esta obra trata de questões fundamentais sobre a técnica da flauta alemã e da práxis instrumental, portanto, musical dos anos setecentos. A relevância e influência se justificam por sua ampla disseminação, realizada através de numerosas edições e traduções, que vão desde o alemão até o japonês. Verter os trechos selecionados para o português possibilita o acesso do estudante brasileiro a uma importante fonte primária sobre a prática musical do século XVIII. A tradução foi realizada através de cotejamento entre as edições francesa (1752), inglesa (2001) e espanhola (2007). Para os comentários, buscou-se fazer uma leitura imanente com intuito de desvendar os nexos categoriais que arrimaram Quantz na construção de seu ideário técnico e musical. Esta leitura abarcou uma análise estética, histórica e musical de temas pontuais do tratado, fundamentada, principalmente, nos conceitos técnicos e musicais de Taffanel e Gaubert (1958) e Henry Altès (1880), e nas perspectivas históricas e estéticas de Enrico Fubini (1970, 2008) e Nikolaus Harnoncourt (1998). Percebe-se, então, que o aprendizado da música ou da flauta, especificamente, exige a construção de uma técnica que só se realiza através de uma formação humana mais ampla, que possa unir saber prático e formação intelectual, experiência e conhecimento. A música de Quantz pretende mover as paixões humanas através de uma sonoridade que se funda em expressividade, ideal este que se faz música através de condução melódica sensível e afetiva.

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Bartlitz, Eveline. "„… wer Flöte bläst, kauft doch allemahl von meinen Werken“: Anton Bernhard Fürstenaus Briefkontakte zum Verlag B. Schott’s Söhne zwischen 1819 und 1825." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A20962.

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Busch-Salmen, Gabriele. "Aspekte der Bachrezeption in Flötenschulwerken des 19. und 20. Jahrhundert." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38346.

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Scott, Lorie Elizabeth. "Gradus ad Parnassum of Modern Flute Technique: An Explication of Musical Intention and Design in 30 Capricen für Flöte allein, Opus 107 by Sigfrid Karg-Elert, with Three Recitals of Selected Works by Schulhoff, Telemann, Berio, Bach, Rodrigo, Gieseking, Reinecke, and Others." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4931/.

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Gradus ad Parnassum of Modern Flute Technique: An Explication of Musical Intention and Design in 30 Capricen für Flöte allein, Opus 107 by Sigfrid Karg-Elert, with Three Recitals of Selected Works by Schulhoff, Telemann, Berio, Bach, Rodrigo, Gieseking, Reinecke, and Others

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Rodriguez, Jennifer. "Traité de la flûte historique, technique et pedagogique: A Study of René Le Roy's Flute Method." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157581/.

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In 1966, René Le Roy (1898-1985) and his student Claude Dorgeuille co-authored Traité de la flûte historique, technique et pedagogique. This treatise presents the culmination of Le Roy's career as a renowned performer and teacher in both Europe and North America. His approach to the study of music, as presented in the method, diverges from traditional French training, instructing teachers to compose exercises specific to the needs of the student and by using repertoire as source material. Claude Dorgeuille writes of the method, "...the Traité gives an outline analysis of the principal elements of technique, thus allowing exercises to be devised as appropriate to the needs of the individual." Using Le Roy's treatise, I demonstrate the application of his teaching to Jacques Ibert's Deux stèles orientées pour voix et flûte (1925), a work dedicated to and premiered by Le Roy, through the creation of individual exercises tailored to preparation of Ibert's work.

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LaCroix, M. Lynne. "Flute recital." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28872.

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Ernoult, Augustin. "Régimes non-stationnaires dans les instruments à embouchure de type flûte." Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066268/document.

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Les modélisations physiques actuelles des instruments de la famille des flûtes permettent de prédire correctement et d'interpréter leurs comportements quasi-stationnaires, c'est à dire les modifications du son induites par des variations lentes, par rapport au temps de réponse de l'instrument, des paramètres de contrôle .Le musicien fait cependant varier constamment ces paramètres pour articuler le discours musical. Au cours des transitoires d'attaques notamment, une variation brusque de la pression d'alimentation induit une mise en oscillation progressive de l'instrument. La naissance du son jouant un rôle important dans sa perception, la maîtrise de ces attaques est donc un point essentiel de l'apprentissage du jeu de la flûte et de la fabrication des instruments.Ce travail porte sur la caractérisation et l'interprétation physique des différents phénomènes ayant lieu au cours des transitoires d'attaque des flûtes à bec et des tuyaux d'orgue.Des attaques produites par des musiciens experts et novices sont étudiées dans le domaine spectral et temporel afin d'identifier et quantifier les mécanismes mis en jeu. La comparaison entre les différents musiciens permet de déterminer les phénomènes qu'ils contrôlent et ceux imposés par l'instrument.Après avoir modélisé l'impédance de l'ouverture au niveau du biseau, des simulations de transitoires d'attaque par modèles physique, montrent la capacité ou l'incapacité de ceux-ci à prédire et interpréter les phénomènes observés et leurs variations. Ce travail met ainsi en évidence la complexité des phénomènes contrôlés par les flutistes et les facteurs et les éléments qu'il reste à modéliser afin de pouvoir les interpréter
Current physical models of flute-like instrument allow to predict and interpret quite well the quasi-stationary behaviors associated to the sound modifications induced by a slow variation of control parameters, compared to the response time of the instrument. However, the musician varies continuously these parameters to articulate the music. During the attack transient a sharp variation of supply pressure starts progressively the vibration of the instrument. The birth of the sound plays an important role for its perception. The control of these attacks is therefore an essential point of interest for the musicians and the instrument makers.The purpose of the studies presented here is to characterize and interpret physically the different phenomena occurring during attack transients of recorders and organ pipes. Attacks played by expert or novice musicians allow to identify and quantify the mechanisms involved. The comparison between musicians allows then to determine phenomena they control and the ones imposed by the instrument.The impedance of the resonator end near the edge is then modelled and included in physical models in order to simulate attack transients. These simulations show the ability or failure of models to predict and to interpret the phenomena observed experimentally and their variability. These studies illustrate the complexity of the phenomena controlled by recorder players and instrument makers and identify the aspects that still need to be modelled in order to interpret them

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Petterson, Jill. "Extended flute techniques in three culturally different solo flute pieces." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12652.

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Includes bibliographical references.
Extended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.

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Gomes, Dos Santos Junior Osvaldo. "The Flute Inside-Out: Tracking Internal Movements in Flute Playing." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17992.

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Analyses in the past have revealed that flute sound production is a complex procedure involving internal movements of the body. The larynx and pharynx in particular play a crucial role. Some authors, advocate for the abdominal muscles, while others, draw attention to the lips and the oral cavity. However, despite the various studies, the physiology of flute playing is limited by lack of empirically-derived information about what happens when a player carries out musical tasks. The present study is an empirical investigation of the role of the larynx and pharynx in flute playing from the perspective of a flute specialist. Specifically, the study aims to determine vocal fold involvement in vibrato, epiglottis movements, arytenoids and epiglottis involvement in articulation, and glottal aperture in tone and dynamics production (soft to loud, loud to soft). A detailed analysis of the relationship between standard flute techniques and the larynx and pharynx mechanisms is presented, making a significant contribution to the flute pedagogical literature. Two male and three female experienced players (referred to in the study as “the participants”) participated in a video-nasendoscopy procedure. The behaviour of the participants’ larynxes and pharynxes while playing a performance protocol specifically designed for this research was observed by a qualified speech pathologist. Specifically, the observer analysed true vocal fold adduction, false vocal fold adduction, laryngeal height, pharyngeal space, epiglottis movement, and arytenoid adduction. This study reveals that laryngeal/pharyngeal participation in flute playing is not limited to vibrato production or specific techniques, such as singing and playing or flutter tongue (tongue rolling effect while playing). The larynx plays a major role in producing flute tone and dynamics and should be considered by pedagogues, performers and health specialists. These findings can assist flute professionals in their daily practice, performances and teaching. Knowing the role of the larynx in vibrato, articulation, pitch control, and dynamics control, reveals a new tool for flute players to use with assurance when preparing any piece of the standard repertoire, or teaching a student.

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Ryan, Shana Marie. "Master's flute recital." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/285.

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Reyes, Lidayne. "Graduate Flute Recital." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/544.

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These extended program notes place the repertoire of my Master’s recital in historical context and analyze the structure. The works discussed are Johann Sebastian Bach’s Sonata in E Minor for Flute and Continuo, BWV 1034; Paul Taffanel’s Andante Pastoral et Scherzettino for Flute and Piano; Sergei Prokofiev’s Sonata for Flute and Piano, op. 94; Aaron Copland’s Duo for Flute and Piano; and Olivier Messiaen’s Le Merle Noir (The Blackbird). I provide an individual essay for each piece, and the entries are chronologically organized according to the composition’s dates. This document aims to give the reader an overview of these works and assist in the understanding of the pieces’ most significant characteristics. This analysis was useful to me in preparing my graduate recital. It is my intention to elicit from the reader a similar appreciation of this repertoire.

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Real, Nicolas. "Flute Concerto [Score]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252808.

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Music Performance
D.M.A.
A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.
Temple University--Theses

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Kim, Yoon Hee. "THE COMMISSIONED FLUTE CHOIR PIECES PRESENTED BY UNIVERSITY/COLLEGE FLUTE CHOIRS AND NFA SPONSORED FLUTE CHOIRS AT NATIONAL FLUTE ASSOCIATION ANNUAL CONVENTIONS WITH A BRIEF HISTORY OF THE FLUTE CHOIR AND ITS REPERTOIRE." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366280963.

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CHANDLER, BETH E. "The “Arcadian” Flute: Late Style in Carl Nielsen’s Works for Flute." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085004413.

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Chandler, Beth E. "The "arcadian" flute late style in Carl Nielsen's works for flute /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085004413.

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Treat, William Phelps. "A survey of flutists and flute activities in eighteenth-century America /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11423.

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Cannon, Angela Renee Fredrickson William E. "A preliminary study of the effectiveness of two breath management exercises on three aspects of flutists' performance duration, breath control, and tone quality /." Diss., UMK access, 2005.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2005.
"A dissertation in performance, flute." Advisor: William E. Fredrickson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Includes bibliographical references (leaves 178-183). Online version of the print edition.

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Wilcocks, Gerda Reinette. "Improving tone production on the flute with regards to embouchure, lip flexibility, vibrato and tone colour, as seen from a classical music perspective." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09132007-163345/.

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Müller, Anna-Maria. "Intonasie in fluitspel [electronic resource] /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-09302008-111355/.

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Yveborg, Zandra, and Erik Isaksson. "Kundnytta med JDF-flöde." Thesis, Högskolan Dalarna, Grafisk teknik, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2242.

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Examensarbetet har gjorts utifrån Företaget AB där kundnyttan med JDF har utretts. Rapporten presenterar de för- och nackdelar med JDF-flöde som framkommit under projektets gång.Man kan välja att utnyttja JDF på olika sätt. I rapporten har tre hypoteser ställts mot varandra där utnyttjandegraden av JDF kontra för- och nackdelar för kunder och tryckeri presenterats.

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Stoltz, Liesl. "The French flute tradition." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7978.

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Bibliography: leaves 131-138.
The French flute tradition is remarkable and is admired by flautists, teachers and students of the flute all over the world. The dissertation researched the development of this tradition from the pre-Baroque period through to the modern era and tried to determine the underlying factors that stimulated its development specifically in France. The first key was added to the flute in France and with this the Hotteteres created the blueprint for the modern flute of today. During the Classical period the conservative French retarded the development of the instrument and the repertoire for the flute by initially rejecting additional keys.

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Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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Miles, Nancy H. H. "Finding your own speed : how flutists find music groups in which they like to play /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11446.

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Paoli, Clément. "La musique de guerre dans l'antiquité grecque et romaine." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100147.

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Cette thèse vise à établir différentes relations et différents liens musicaux, ainsi que des évolutions, dans le cadre de la guerre antique, en d'autres termes, il s'agit d'établir des parallèles entre la musique militaire et d'autres musiques guerrières. Pour ce faire, elle se concentre en priorité sur la musique militaire qui forme le fil conducteur de l'ouvrage. On étudie en particulier beaucoup la musique de trompette, en se posant les questions suivantes : la musique militaire a-t-elle pu être à l'occasion artistique ? A-t-elle pu servir à se détendre ? Quelles sont les constantes et les évolutions de la musique militaire et des instruments de musique militaire au cours de l'antiquité grecque et romaine ? A cette fin, toutes les sources anciennes qui traitent de la musique en général et de la musique militaire sont mentionnées. Les sources historiques et philosophiques sont prises aussi en considération, ainsi que les traités de musique (Aristide Quintilien, Philodème de Gadara). Les instruments sont passés en revue : trompette, aulos et tibia, lyre et orgue hydraulique. Un chapitre est consacré aux musiciens de l'armée et aux guerriers musiciens. Les hymnes delphiques d'Athénaios et de Liménios sont étudiés, ainsi que le fragment épique d'Oslo
This thesis aims to define different relations and different musical links, and some evolutions as well, in the framework of the ancient war, in other words, it means to establish parallels between military music and other warlike musics. For that, this thesis focuses principally to military music which forms the principal line of the work. We particularly study a lot of trumpet's music, and we answer or define the following questions : had military music been for occasions artistic music? Or music for relaxation? What are the common points and evolutions of military music and military music instruments along greek and roman antiquity?To treat these subjects, all the ancient sources which are concerned by antic music generally and military music particularly are mentioned. Historic and philosophic sources are taken in consideration too, and musicologic books as well (Aristide Quintilien, Philodème of Gadara). Music instruments are studied : trumpet, aulos and tibia, lyre and hydraulic organ. A chapter is dedicated to the warfare musicians. The delphic hymns of Athenaios and Limenios are studied, and the epic fragment of Oslo as well

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Cardoso, Miriam Carmen Diniz Talete. "A flauta no contexto da música de câmara contemporânea portuguesa: os últimos 40 anos." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/17520.

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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.

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Raposo, Jessica Ann. "Defining the British Flute School : a study of British flute performance practice 1890-1940." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31472.

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The British Flute School went through dramatic change in the twentieth century, as its leading players adopted elements of the French style of playing. These changes caused tensions that have led to a subjective oral history: a history which depicts two camps of flautists vying for the superior style, with one winner in the end. This document aims to provide a more comprehensive and more accurate history of the British Flute School from 1890 to 1940, and, through this investigation, explore what it means to define a style of playing in terms of both nationality and as a unified school. It will include not only an exploration of the interactions between the French and British flute schools, but also an in-depth examination of the influences of flautists of other nationalities, their career activities, performed repertoire, critical commentary in the press (primarily from The Musical Times and the London Times), British flute pedagogy, the recording industry, and aspects of the overarching musical culture in Great Britain. A survey of the active flautists of the time includes: John Amadio, Jean Firmin Brossa, Albert Cunningham, Edward De Jong, Louis Fleury, John Francis, Albert Fransella, Philippe Gaubert, Geoffrey Gilbert, Frederic Griffith, René Le Roy, Joseph Lingard, Gareth Morris, Marcel Moyse, Robert Murchie, Vincent Needham, Edith Penville, E. Stanley Redfern, Joseph Slater, and Lupton Whitelock. The document concludes with a proposal for a redefinition of the British Flute School that, like the culture from which it comes, values rather than disparages the diversity of its history.
Arts, Faculty of
Music, School of
Graduate

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Bradstreet, Jennifer. "The Singing Flute: Tone Philosophies from the French Flute School to the Present Day." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20251.

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The Singing Flute is written in four parts and surveys tone philosophies from past to present. It includes four significant flautists. Part I explores the French Flute School teachings of Marcel Moyse (1889-1984); the following three parts document tonal practices of current international flute experts: Philippe Bernold (France, 1960 -), Leone Buyse (USA, 1947 -), and Thies Roorda (Netherlands, 1954 -).

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Davis, John Edward 1954. "The extended alto flute: The history and development of the alto flute, with a study of modern alto flute design and its effect on extended techniques in alto flute repertoire and pedagogical materials." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288758.

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The purpose of this document is to trace the origin of the modern alto flute from its beginning through Theobald Boehm's design, compare the designs and acoustical qualities of modern alto and c-flutes; identify the various types of extended techniques found in contemporary alto and c-flute repertoire with attention as to how the realizion of these techniques may differ for alto and c-flute; and survey representative works for alto flute that incorporate extended techniques. Chapter I follows the development of larger flutes from examples found in Renaissance-period sources up to the early nineteenth century. Chapters II and III discuss Boehm's design innovations, identify specific parts of alto flute design that distinguish it from the c-flute, in in aspects such as air column diameter and volume, tone hole location and diameter, and head joint design. Chapters IV through VII investigate the origins of extended techniques on alto and c-flute and include explanation of various monophonic, microtonal and multiphonic techniques, and identify differences between alto and c-flute responses in these areas. Chapter VIII examines representative solo and chamber works for alto flute that incorporate extended techniques, with descriptions of the techniques and a grading system that rates these works on their level of extended technique difficulty. Three appendices are included: Appendix A is a quarter-tone fingering chart for the alto flute; Appendix B is a listing of alto flute multiphonic fingerings: Appendix C is a listing of descriptive notes for the multiphonics in Appendix B.

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Kim, Hyun Kyung. "Incipit for flute and computer." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2599.

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Thesis (D. Mus.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Hodzic, Senad, and Johan Nilsson. "Effektiviserad materialhantering genom förbättrat flöde." Thesis, Jönköping University, JTH, Industrial Engineering and Management, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-9363.

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This examination paper is the final part of the three years long engineering education in industrial engineering and management, with focus on logistics and leadership, at the school of engineering in Jönköping.

The purpose of this thesis is to investigate the material flow method that is used at the time on an anonymous company and to study which opportunities and problems the company has while trying to become more efficient in its internal material flow process from the storage to the production area.

The current material flow system that the company uses from the storage to the production area is usable and the production is working with this system. The company sees potential in developing and becoming more efficient in the time used for material handling. The tied up capital in the storages and the use of the floor area that is used, do also have potential in becoming more efficient according to the company.

The current material flow system from the storage to the production area was studied and mapped. Even the flow within the chosen production cell was studied. After these studies three possible vision opportunities were developed. The three vision opportunities were all focused on using batches in the production that were formed into the exact quantities needed to produce an order. How this kitting should be done was the difference between the vision opportunities.

A simulation of the production with material kitted into the exact quantities required in the production cell where made, to see what possible gains and which losses that could occur with this new way of material handling. The results from this simulation and the knowledge that was given were among others the identification of a bottleneck in the production and diverse problems that could complicate a kitting of material. Further positive and negative effects of kitting are also reflected over in the report.

The simulation contributed, as said earlier, to the identification of a bottleneck in the production, but also to the discovery of how the order-batches from the customers have to be synchronized with the purchase-batches and the production-batches at the company. These results in relation to the theory part about kitting have lead forward to our suggestions of change and possible further work for the company and are seen under the final discussion part. These suggestions treat co-operation with suppliers’ synchronization of different batches and possible layout changes.

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Van, Winkle Lisa K. "Sargon's Flute: A Pedagogical Discussion." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1186%5F1%5Fm.pdf&type=application/pdf.

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Michell, Paul. "Twentieth century Czechoslovakian flute music /." Title page, abstract and table of contents only, 1994. http://web4.library.adelaide.edu.au/theses/09MUM/09mumm623.pdf.

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Eklöf, Emil. "Flöde i slitsränna av komposit." Thesis, Luleå tekniska universitet, Institutionen för teknikvetenskap och matematik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-65261.

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På grund av allt hårdare miljökrav från EU och nedläggningen av kärnkraften så kommer vattenkraft, vilket redan spelar en stor roll för dagens energiproduktion, behöva utökas. På grund av detta behövs en hållbarare och billigare lösning på tekniska fiskvägar, vilka idag oftast gjuts i betong. En av lösningarna som företaget Composite Service Europe AB föreslår är att göra detta i komposit, då det är lättare att underhålla och specialdesigna. För att enklare kunna specialdesigna och se så den uppfyller alla krav som ställs så kommer detta examensarbete presentera en simulering av en dessa fiskrännor samt validering av denna simulering. En ränna modellerades upp i Siemens NX vilken sedan simulerades med ANSYS CFX. Från denna simulering togs sedan flödesfältet och hastighetskonturen från den tredje bassängen ut och jämfördes mot experimentella flöden. De experimentella flödena är framtagna i kursen Experimentella Metoder och gav en indiktation för hur flödet borde se ut i bassängen. Då det experimentella arbetet var gjort på ett sådant sätt att inga hastigheter eller andra kvantiteter för flödet fanns, så kan inte flödet räknas som helt validerat utan vidare experimentellt arbete krävs. Men det som jämförelsen tyder på är att det simulerade flödet följer det experimentella. Vidare måste simuleringstiden sänkas då denna simuleringen tog 21 dagar, vilket inte är gångbart ute i industrin. Några sätt att göra det på som föreslås är att göra en nätstudie och se om det går att simulera en bassäng.

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Herring, Judith Ann. "A guide to intermediate-level flute concerti." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/487502.

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There exists a substantial lack of familiarity among flute teachers and music educators with extant publications of pertinent pedagogical flute repertoire at the intermediate level, specifically the concerto. Although readily available, suitable concerti for the important progression of the student from intermediate to the advanced level are often substituted with works too difficult technically and musically. In many situations, introduction and exposure to the concerto genre is virtually overlooked. Therefore, progression from an intermediate to an advanced level is often hampered, and a vital phase in the student's technical and musical development is neglected.This guide to intermediate-level concerti provides a systematic, methodical approach to the teaching of four concerti appropriate technically and musically for the established level of playing. The historical eras Baroque, Classical, Romantic, and Twentieth Century are each represented by one concerto.Chapters II, III, IV, and V provide a description of the concerto's evolution during the particular historical era specified. This examination is followed by a brief biographical sketch of the composer whose work is being discussed. The significance of each concerto in the composer's output is provided when such information is available. A list of all current and accessible editions is provided along with information about individual editors. An editorial paleography is supplied when more than one edition exists. Each of these four chapters concludes with a formal analysis of the concerto under discussion.Chapter VI provides a plan for the teaching and performing of each concerto. This plan is divided into two headings. The first is a didactic analysis of the following technical considerations: alternate fingerings, arpeggiated passages, double tonguing, meter, rhythmic patterns, and trills. Parallel etudes drawn from existing flute literature and original exercises by the writer are supplied. The second major area of discussion within the pedagogical analysis comes under the heading of the following interpretative considerations: articulation, breathing/phrasing dynamics, ornamentation, and tempo.The final chapter of the work includes a summary, conclusions, and recommendations. Three appendices contain moderately easy to intermediate, and intermediate to moderately difficult flute concerti as well as a publisher and agent code list.

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Lin, Horng-Jiun. "An Illustrated Basic Flute Repair Manual for Professionals." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211871566.

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Manabe, Reiko. "A preliminary manual of phonetics in flute playing." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3315201.

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Thesis (D.M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Feb. 9, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 17.

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Cameron, Kathleen Anne. "The Evolving Mission and Purpose of the Pittsburgh Flute Club in the Twentieth Century." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258681631.

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44

Gill, Frances. "Flute Lines: Experiencing Reconstructions Concerning Music." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27479.

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This study elevates the importance of experience, the senses and tacit knowledge in relation to archaeology with a focus on music. With this I take up a thread drawing on theoretical aspects of Polanyi’s ‘Tacit Dimension’ and ‘Ingold’s Lines’. I review paradigms in experimental archaeology and music archaeology, and the subject of reconstruction in both. My case study is of four individuals, whose reconstruction models are connected to artefacts perceived as flutes in the archaeological record and/or notions of prehistoric flutes. Combining the way in which we learn by understanding others’ experiences through gesture and experience as data, my work examines these ideas in relation to wanting to find out about these flute-making people, and how their work is related to the canon of archaeology to which one might expect that it belongs, and if we can call this a tradition. What I found was that the praxis is complex and far reaching and stretches into various ontologies through philosophy, religion, emotionalism, intellectualism, symbolism, music, tradition, imagination, experience, sensation and identity, where interrelations of the past, present and future are very evident. I finally consider archaeology as an art which reveals parallels between archaeology itself and music. Paradigms in archaeologies in 2013 do not effectively support this praxis of flute making despite contextual experimentation showing welcoming promise for future change.

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Searls, Jesse Patrick. "Rhapsody for Flute and Wind Ensemble." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243905910.

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Ioan, Cristina. "Developing the flute tone through singing." Master's thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/1140.

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Mestrado em Música
Este estudo pretende propor um método alternativo para melhorar o som na execução da flauta utilizanto elementos da técnica vocal. É uma pesquisa interdisciplinar que consiste em desenvolver, experimentar e analisar exercícios e métodos para estudar flauta através do canto. ABSTRACT: This music study whants to propose an alternative method for developing the flute tone by using singing techniques. It is a piece of interdisciplinary reasearch consisting in developing, experimenting, and analyzing exercises and methods for practicing flute through singing.

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Bethea, Stephanie. "The flute music of Carl Reinecke /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/11434.

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Toma, Milad, and Paul Tiari. "Integrerade transporter för ett effektivare flöde." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-22126.

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Dagens globala affärsmiljö är en tuff bransch med alla konkurrenter som finns på marknaden. Studien har fokus på verksamheter inom distribution- och lagringsbranschen. För företag verksamma inom distribution- och lagringsbranschen så är effektivisering av de logistiska processerna en betydelsefull del i arbetet. Logistik är ett omfattande begrepp som generellt kan ses till största del som läran om effektiva material- och informationsflöden. Inom begreppet logistik finns området transport. Transport är väldigt essentiellt i arbetet kring företags ekologiska fotavtryck och har enligt diverse litteratur den största potentialen för effektivisering. Integrering av transporter kan leda till reducering av antalet transporter vilket i sin tur leder till positiv påverkan för miljön och den interna ekonomin. Syftet med studien är att identifiera problem som är kopplade till leveranser från leverantörer, där både material- och informationsflödet ska undersökas. Problemen kommer att beskrivas i studien med kopplingar till teoretiska utgångspunkter. Utifrån den teoretiska perspektiven ska studien även framföra förbättringsförslag inom området leveranser från leverantörer. Förbättringarna ska eventuellt leda till ekonomiska och miljömässiga fördelar. Studien har genomförts genom en abduktiv ansats, en kvalitativ metod har tillämpats främst men även kvantitativ data har använts och legat i grund för analyser i studien. Den vetenskapliga trovärdigheten har grundats på sanningskriterium i form av reliabilitet och validitet. Slutsatserna som presenteras har baserats på den teoretiska referensramen, empiri samt resultat och analys. Avsnittet har återkopplat de slutsatser som framkommit under arbetets gång till studiens syfte och forskningsfrågor. De identifierade problemen, inom området för studien, har varit brist på integration av transporter, vilket kan lösas genom ett större fokus på samordning som kräver mer djupgående kunskaper inom området.
Today the global business environment is a tough industry with all competitors in the market. The study focuses on operations in the distribution- and storage industry. For companies operating in the distribution- and storage industry, streamlining the logistic processes is an important part of the work. Logistics is a comprehensive concept that can generally be seen as the teaching of effective material and information flows. Within the concept of logistics there is a fundamental area in the form of transportation. Transport is very essential in the work on the company’s ecological footprint and, according to various literature, has the greatest potential for efficiency improvement. Integration of transports can lead to a reduction in the number of transports, which in turn leads to a positive impact on the environment and the internal economy. The purpose of the study is to identify problems that are related to freighting from suppliers, where both the material- and information flow is to be investigated. The problems will be described in the study with links to theoretical starting points. From the theoretical perspectives, the study should also present improvement proposals in the field of freighting from suppliers. The improvements may possibly lead to economic and environmental benefits. The study was carried out using an abductive approach together with a qualitative method using quantitative data. The scientific credibility has been based on the truth criterion in the form of reliability and validity. The conclusions presented have been based on the theoretical frame of reference, empirical data, results and analysis. The section has linked the conclusions that emerged during the work to the purpose of the study and the research questions. The identified problems, within the area of the study, has been a lack of transport integration, which can be solved through a greater focus on coordination which requires in-depth knowledge within the area.

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Shephard, Eliza. "The Glissando Headjoint." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/393197.

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In 2003, Robert Dick, international flutist and pedagogue, launched the glissando headjoint. This mechanism can be described as a telescoping flute headjoint with metal wings attached to the mouthpiece, which enhance a flute’s ability to bend pitch. The glissando headjoint was built on the inventions of Eva Kingma, Kaspar Baechi and Bickford Brannen. In the last 16 years, the glissando headjoint has failed to become as mainstream as the standard flute headjoint, despite its claimed potential as its replacement. Comparatively nominal repertoire has been written to include its use, and a nonstandardised approach to notation has resulted. The primary purpose of this research project was to contribute to the available repertoire and research surrounding the glissando headjoint, explore its possible opportunities and advocate its future relevance. Research methods included an extensive literature review studying formal and informal publications, a semi-structured interview of the inventor Robert Dick and practice-based research plus a variety of approaches to composer– performer collaboration incorporating national and international composers within my professional networks. This research explored the capabilities of the glissando headjoint, discussed the development of a standardised notation for the glissando headjoint, ascertained informational requirements of composers when creating new works for the headjoint and investigated further technical and timbral possibilities. While improvisation and the transcription of pre-existing works were utilised to further expand the existing glissando headjoint repertoire, these processes were not the primary focus of this study. Additional research outcomes include music exercises and increased accessible repertoire with complementary recordings for people new to the glissando headjoint mechanism. This research has also identified limitations of the glissando headjoint that could be explored in future research: the relatively limited enhancement of a flute’s pitch bends, and a lack of stability and continuity of the headjoint throughout a playing session. While this study would be of interest to those seeking to adopt new approaches to flute playing, it may also appeal to those seeking to modify non-flute traditional Western instruments.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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CHOU, I.-CHUN, and 周怡君. "Paul Hindemith：Sonata für Flöte und Klavier." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/58985374714682662893.

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碩士
臺北市立教育大學
音樂藝術研究所
94
Paul Hindemith (1895-1963), one of the most influential German composers of the first half of the 20th century, was a violinist, violist, conductor and educator. Hindemith combined baroque, classical and modern techniques (also called Neo-classicism), into many distinctively modern compositions. This is particularly evident in his flute sonata. Although this piece is not technically challenging, because of his distinctive compositional technique and musical style, the piece is remarkably memorable. The title of this thesis is《An analysis of Paul Hindemith’s flute sonata》 in five chapters. The first chapter demonstrates my research motive, propose and method. The second chapter is Hindemith’s bibliography, compositional style and background. The third chapter is an analysis of the flute sonata, displayed in a grid format. The fourth chapter deals with musical details such as measures, tempo, dynamics, and musical style, displayed in written excerpts. The fifth chapter is the conclusion, and personal statement.

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Dissertations / Theses on the topic 'Flöte'

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