Relevant bibliographies by topics / Flute and electronic music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Flute and electronic music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Flute and electronic music"

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Burns, Cecilia E. "Therapeutic Uses of the Flute Within Music Therapy Practice." Music Therapy Perspectives 37, no. 2 (2019): 169–75. http://dx.doi.org/10.1093/mtp/miz003.

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AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an instrument within a music therapy setting more frequently. Results showed that 42.4% of the 387 respondents were actively using flute music in some way within music therapy sessions while 67.8% of respondents reported using flute music at some point in the past. Flute-playing music therapists reported using flutes more frequently in a music therapy context than music therapists who did not study flute as a primary instrument. It appears that the flute is a viable instrument for music therapy practice.
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Pandey, Durgesh. "ROLE OF ELECTRONIC INSTRUMENTS IN MUSIC TEACHING AND PERFORMANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3419.

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The smallness of the sound is based on intensity. When it affects the brain and the heart, first blood activity is affected and then it is transformed into mental sensation. To measure the intensity of noise, we use the decibel method. It is also known as Phan; It is worth noting here that if the sound level of a flute produced by a flute is 40 fane, the level of the sound of the two flutes would be only about 43 pans instead of 80 pans and the sound level of 10 flutes would be around 50 pans. There is a difference in the intensity of the sound and not the highness of it. नाद का छोटा-बड़ापन तीव्रता पर आधारित होता है। इसका प्रभाव मस्तिष्क और हृदय पर जब पड़ता है तो पहले रक्त क्रिया प्रभावित होती है और उसके बाद मानसिक अनुभूति के रूप में उसका रूपांतर होता है। नाद की तीव्रता नापने के लिए डेसीबल पद्धति को अपनाते हैं। इसे फाॅन ;च्ींदद्ध नाम से भी जाना जाता है, जिसके आधार पर साधारण बातचीत की ध्वनि का क्षेत्र 60 से 70 फाँन के मध्य में रहता है। यहाँ यह बात ध्यान देने योग्य है कि यदि एक बाँसुरी से उत्पन्न नाद का ध्वनि स्तर 40 फाॅन है तो दो बाँसुरियों के सम्मिलित नाद का स्तर 80 फाॅन न होकर केवल 43 फाॅन के लगभग होगा और 10 बाँसुरियों का नाद स्तर 50 फाॅन के लगभग होगा। नाद की तीव्रता में अंतर आता है न कि उसके ऊँचे-नीचेपन में।
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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 (April 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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Levaux, Christophe. "The Forgotten History of Repetitive Audio Technologies." Organised Sound 22, no. 2 (July 12, 2017): 187–94. http://dx.doi.org/10.1017/s1355771817000097.

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In the literature dedicated to twentieth-century music, the early history of electronic music is regularly presented hand in hand with the development of technical repetitive devices such as closed grooves and magnetic tape loops. Consequently, the idea that such devices were ‘invented’ in the studios of the first great representatives of electronic music tends to appear as an implicit consequence. However, re-examination of the long history of musical technology, from the ninth-century Banu Musa automatic flute to the Hammond organ of the 1930s, reveals that repetitive devices not only go right back to the earliest days of musical automation, but also evolved in a wide variety of contexts wholly unconnected from any form of musical institution. This article aims to shed light on this other, forgotten, history of repetitive audio technologies.
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Blackburn, Andrew, and Jean Penny. "Imaginary Spaces: New Malaysian performance contexts for intercultural exploration." Organised Sound 19, no. 2 (June 30, 2014): 164–72. http://dx.doi.org/10.1017/s1355771814000107.

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The Imaginary Space: Developing models for an emergent Malaysian/Western electroacoustic music is a Fundamental Research Grant Scheme project funded by the Malaysian government in which intercultural investigation is centred within an electroacoustic performance environment. A unique series of music outcomes and potential models reflecting a symbiosis of Malaysian and Western art music through composition and performance are emerging for instrument(s) and electronics. This paper focuses on the first and second phases of the project investigating Western flute, Malaysian serunai and pensol nose flute with electronics. Multi-stranded investigations of connections are identified within the conception, composition, realisation and reception of these works. Performer perspectives are given through two case studies. Our purpose is to illuminate understandings of intercultural connections, to begin to re-conceptualise cultural research paradigms, and to see what we can discover about performance contexts and engagement with individuals, cultures and traditions. The research is contextualised within the philosophical theories of Gadamer, Merleau-Ponty and Ingold. Investigating the role of technology in this context impels a discussion of how these elements generate a new, multifaceted environment, the space in which intercultural and performative understandings can emerge. This article focuses on how these performance contexts become a place for research and new understandings.
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Nunes, Jade Barbosa, and Tiago Destéffani Admiral. "Use of Arduino and flute in teaching waves in a high school class." Brazilian Journal of Science 3, no. 2 (February 1, 2024): 33–44. http://dx.doi.org/10.14295/bjs.v3i2.469.

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This work aims to use music as a teaching tool and, alongside it, utilize Arduino as a device to verify the components to be studied. The theoretical framework to be used is based on the Potentially Meaningful Teaching Units, UEPS approach, allowing for the construction of meaningful learning for students through problem-solving situations. A didactic sequence was developed for the study of the theme of sound waves and their components at the high school level. This sequence was applied over a period of four weeks, including an initial presentation of topics related to waves, the construction of an electronic system using Arduino, and the verification of phenomena based on musical notes. The data collection instruments for this research included questionnaires to assess students' prior knowledge, mind maps, and exercise lists. The Arduino programming board, which allows for the digitization of analog and digital electrical signals, was used in conjunction with a microphone module, enabling the integration of electronic physics with wave physics. As a result of this research, there were indications of learning through the interdisciplinary relationship between music and physics, which was made effective through the use of Arduino and the recorder flute.
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Eley, Nolan, Catherine Lavandier, Théodora Psychoyou, and Brian F. G. Katz. "Listener perception of changes in historically informed performance of solo baroque music due to room acoustics." Acta Acustica 8 (2024): 6. http://dx.doi.org/10.1051/aacus/2023069.

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A listening test was performed to determine whether there were any perceived differences in the playing styles of musicians as a function of the room in which the music was performed. This listening test was part of a larger study aimed at investigating the impact of room acoustics on historically informed performance (HIP) of baroque music which included an objective analysis framework designed to capture dimensions of performance important to a historical baroque playing style. The test included both flute and viol examples and included the participation of 20 musically trained listeners with a background in HIP. The results of the test showed some significant differences in certain performance parameters for both instruments. In particular, the flute examples demonstrated differences that aligned with reports from the flutists about the strategies they used to adapt to the different acoustics, and there was agreement between listener ratings and previously extracted objective parameters. These findings suggest that room acoustics play a role in shaping musical performance, and that the resulting changes can be perceived by listeners.
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McNUTT, ELIZABETH. "Performing electroacoustic music: a wider view of interactivity." Organised Sound 8, no. 3 (December 2003): 297–304. http://dx.doi.org/10.1017/s135577180300027x.

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For most electroacoustic composers, ‘interactivity’ refers to technology which responds to input from a performer. For performers, in contrast, performance may be described as ‘interactive’ on many levels: interacting with acoustic musical interfaces (their instruments), communicating with composers and audiences, mediating the data of a score, negotiating prosthetic devices (microphones, loudspeakers, pedals, sensors), and interacting with invisible chamber music partners (whether backing tracks or responsive computer programs). There has been little public discussion about these issues. This paper will therefore discuss various elements of interactivity in electroacoustic music from the performer's perspective, with the goal of promoting and facilitating satisfying collaborations for both composers and performers. Discussions of pieces for flute and electronics will demonstrate various issues in performing with electronics; describe ways in which works and systems have been designed to work effectively as chamber music; and offer insights into the process of collaboration between composers, technologists and performers.
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Spasov, Miroslav. "Using Strange Attractors to Control Sound Processing in Live Electroacoustic Composition." Computer Music Journal 39, no. 3 (September 2015): 25–45. http://dx.doi.org/10.1162/comj_a_00313.

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This article explores the possibility of using chaotic attractors to control sound processing with software instruments in live electroacoustic composition. The practice-led investigation involves the Attractors Library, a collection of Max/MSP externals based on iterative mathematical equations representing nonlinear dynamical systems; Attractors Player, a Max/MSP patch that controls the attractors' performance and live processing; and the two compositions based on the software: Strange Attractions for flute, clarinet, horn, and live electronics, and Sabda Vidya No. 2 for flute, tenor saxophone, and live electronics. In the article I discuss some specific attractors' characteristics and their use in interactive composition, relying on the experience from the performances of these two compositions. The idea is to highlight the experience with these nonlinear systems and to encourage other composers to use them in their own works.
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Penny, Jean. "Flutes, Voices and Maskenfreiheit: Traversing performative layers." Organised Sound 16, no. 2 (June 28, 2011): 184–91. http://dx.doi.org/10.1017/s1355771811000136.

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Researching the inside story of music performance, the core of the performative act, is a journey of infinite discovery of self- and musical connection. Establishing the discourse for such an investigation can, indeed, present its challenges. Do we focus on fundamental research methodologies, strive to fit within empirical investigations, or search for new forms of articulation as we choose what to observe and share, and decide what meanings, presences, dialogues or ‘folding in of new substances’ (Schroeder and Rebelo 2009: 137) we wish to pursue in the quest for new understanding? In this paper I will focus on performance for flute with electronics, the influence of voice, and the play with Maskenfreiheit,1 as I investigate performative layers as they have emerged in my own performances of selected notated works. The influence of the electronics is integral to these encounters with extended acoustic instrument, the place of the performer's voice and the ambiguities of projection, through narrative and reflection.
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Dissertations / Theses on the topic "Flute and electronic music"

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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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McNutt, Elizabeth. "Pipe wrench : a recording of music for flute and computer /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p3001271.

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Thesis (D.M.A.--Music)--University of California, San Diego, 2000.
Vita. Thesis consists of a document exploring "the issues of performing and recording music that uses technology" and a recording project. Five pieces of music for flute and computer technology were involved in the recording project: The twittering machine by Andrew May; Music for Flute and Computer by Cort Lippe; The Blistering Price of Power by Eric Lyon; Interact I by Barry Moon; and Jupiter by Philippe Manoury. Duration of acc. tapes: 58:05. "Selective discography" of works for flute and interactive electronics, and of works for flute and electronics on tape (leaves 54-55). Includes bibliographical references (leaves 58-61).
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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.
The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.
"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.
'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."
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Penny, Margaret Jean. "The Extended Flautist: Techniques, Technologies and Performer Perceptions in Music for Flute and Electronics." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/366551.

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As musical and performance practices have evolved over the last half-century, the realm of the solo flautist has expanded to encompass an extensive array of emerging techniques and technologies. This research examines the impact of electronics on the flautist. It explores and confronts this expanding musicological nexus through forwarding the voice of the performer: defining the search for knowledge through the actuality of performance, reflection and narrative. The investigation is based around two recitals of music for flute with electronics, incorporating ideas of spatialisation and interactive live electronics. These recitals presented music by Jean-Claude Risset, Mario Lavista, Thea Musgrave, Marco Stroppa, Kaija Saariaho, Russell Pinkston, Warren Burt and Georg Hajdu. The structure for the research is based on the model of this experience, a journey of evolving understanding corresponding to the processes of performance: conception, preparation, presentation and reflection. This model proposes a framework for musicological investigation incorporating a comprehensive survey of repertoire and literature, considerations of technological functionality, and personal engagement with specific music, techniques and performance. The use of electronics to reveal elements of electroacoustic performance informs and positions the research, and raises questions for analysis and further explorations and understanding. The ‘site of discovery’ here is the performance; the goal is to demystify, renew, and re-evaluate the performer’s world. Building on and finding support in research from an emerging body of discourse in the wider field, the discussion and findings are primarily addressed through self-observation, based on the author’s experience as performer, as flautist. Thus these findings display significant partiality, as they aim to expand understandings of performance with electronics from within; to articulate knowledge revealed only through engagement with performance itself, and to provide a platform for the performer as writer. The focus on the self in this research approach promotes further understanding of how a performer or listener engages with the sonic, emotional, conceptual and connective capacities of the music. The project draws together historical perspectives, performance and reflective The Extended Flautist critiques, documentation of the processes of performance, the connections to technology, to others and the self. The embodiment of music through learning, rehearsal and performance is a journey that leads to the revelation of otherwise inaccessible performance knowledge. This revelation is approached here through centering the research on this very act. It is the doing, the experience, and the observation of performance with electronics that creates the responses and material of this discourse. The instrumentalist, electronics and space become an entity, a meta-instrument, incited by the microphone to construct new sounds, new expression and new identities. Renewed playing perspectives and actions, the disclosure of intuitive responses and newly evolving partnerships emerge with the knowledge of process and defined approaches. New representations of the self in sound, new awareness and perception of the performative body, connections and exchange, unveil a relocated, reshaped performing persona. The Extended Flautist traces this performative journey through a discursive musicology, an embodied scholarly encounter of narrative, analysis and performance. An enactive performance practice is revealed, a transformative musicality teeming with renewed approaches to sonority, physicality, performance space, partnerships, self-perception and expression.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium of Music
Arts, Education and Law
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Welch, Chapman. "Three Pieces for Musicians and Computer: Rameaux, Nature Morte, Moiré." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9723/.

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Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.
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Gedosh, David. "Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9851/.

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Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, are used to contextualize these notions, through a description of the various consciousness structures with specific attention to the space-time relationships. Of specific concern are the aperspectival manifestations in music in the twentieth century and beyond. Special emphasis is given to the area of electro-acoustic music, particularly spectral music. The theoretical analysis explores how the various techniques are used to create an aperspectival experience, and includes specific descriptions of the technique of refraction as metonymy, and pitch set analysis of the technique of expansion and contraction.
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Antoniu, Dan A. Mr. "Integrating Ghosts." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616258287308046.

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Pardo, Daniel (Flutist). "Expansion of Musical Styles, Function of Texture, and Performing Techniques in Brian Lock's Sonic Archaeologies No. 1: A Performance Guide." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849630/.

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British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites interpretation blending and altering traditional sounds through microphones and a processed signal flow. The performance guide will address acoustical considerations when the flute sound is being manipulated by dynamic and time-based processors in live performance; the interaction between the flute, electronics and acoustic spaces; the elements of sound production that provide interpretation of contemporary popular styles; and the opportunities for the performer to find, explore and develop artistry beyond the limitations of music notation.
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Cheng, Chien-Wen. "Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

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Wang, Jing. "Cultural and technical perspectives on Winter landscape." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12212.

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For flute, piano, erhu, and Max/ISP interactive computer music system. Duration: ca. 15:00. System requirements: Adobe Acrobat Reader. Includes notes for performance. Includes bibliographical references (p. 94-96).
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Books on the topic "Flute and electronic music"

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Kreiger, Arthur. Meeting places: Flute (alto flute), clarinet (bass clarinet), piano, percussion, violin, violoncello, and tape. New York: C.F. Peters, 1996.

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Munster, Peter van. Repertoire catalogue: Piccolo, alto flute, bass flute. Machiavelli Roma: Riverberi Sonori, 2004.

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Munster, Peter van. Repertoire catalogue: Piccolo, alto flute bass flute : including ca. 900 works for flute choir or flute orchestra. Roma: Riverberi sonori, 2004.

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Amadeus, Mozart Wolfgang. Magic flute. New York: Black Dog & Leventhal, 2007.

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Nyfenger, Thomas. Music and the flute. Guilford, Ct: T. Nyfenger, 1986., 1986.

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Nyfenger, Thomas. Music and the flute. Guilford, CT (159 Shore Drive, Guilford, CT 06437): T. Nyfenger, 1986.

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Kaufman, Fredrick. Meditation for a lonely flute: For solo flute. Bryn Mawr, Pa: Merion Music, 1987.

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Music, Royal Conservatory of, ed. Flute syllabus. Oakville, Ont: F. Harris Music, 1992.

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Galway, James. Flute. London: Kahn & Averill, 1990.

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Wang, An-Ming. Twentieth century music for flute and piano or flute solo. Bryn Mawr, PA: Hildegard Pub. Co., 1997.

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Book chapters on the topic "Flute and electronic music"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Flute." In The Teaching of Instrumental Music, 207–20. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-16.

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Wallrup, Erik. "The tune of the magic flute." In Music as Atmosphere, 202–17. [1.] | New York : Routledge, 2019. | Series: Ambiances, atmospheres and sensory experiences of spaces: Routledge, 2019. http://dx.doi.org/10.4324/9780815358718-11.

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Bruel, Stephen. "Remastering Mozart's The Magic Flute." In Remastering Music and Cultural Heritage, 125–34. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003177760-6.

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Dyakonov, M. I., and M. S. Shur. "Field Effect Transistor as Electronic Flute." In Future Trends in Microelectronics, 251–61. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1746-0_22.

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Hartmann, William M. "Electronic Music." In Principles of Musical Acoustics, 279–86. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_27.

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Kim, Hyelim. "Music analysis I." In Tradition and Creativity in Korean Taegŭm Flute Performance, 56–77. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351216746-4.

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Kim, Hyelim. "Music analysis II." In Tradition and Creativity in Korean Taegŭm Flute Performance, 78–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351216746-5.

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Kim, Hyelim. "Music analysis III." In Tradition and Creativity in Korean Taegŭm Flute Performance, 94–108. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351216746-6.

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Gemolo, Matteo. "A Contemporary Lesson from an Ancient Flute." In Historical Performance and New Music, 95–105. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003300229-9.

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Kaul, Timor. "Electronic Body Music." In Handbuch Popkultur, 102–6. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05601-6_18.

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Conference papers on the topic "Flute and electronic music"

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Anoop, M. N., T. S. Deepak, and T. Shreekanth. "An approach for analysis and identification of Raga of Flute Music using Spectrogram." In 2017 International Conference on Trends in Electronics and Informatics (ICOEI). IEEE, 2017. http://dx.doi.org/10.1109/icoei.2017.8300928.

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Wang, Jin. "Internet Dynamic Communication Network Modeling of Qiang Flute Culture Research from the perspective of Music Anthropology based on Loop Signal Detection." In 2022 3rd International Conference on Electronics and Sustainable Communication Systems (ICESC). IEEE, 2022. http://dx.doi.org/10.1109/icesc54411.2022.9885417.

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Zhao, Fenghua, Minghua Li, Caijie Zhou, Guangzeng Chen, and Yunjiang Lou. "Music Melody Extraction Algorithm for Flute Robot." In 2020 IEEE International Conference on Real-time Computing and Robotics (RCAR). IEEE, 2020. http://dx.doi.org/10.1109/rcar49640.2020.9303271.

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Liu, Hongfei. "Historical Development Overview on Cucurbit Flute Music." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.26.

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Liu, Hongfei. "Study on Wei Shijian Cucurbit Flute Music." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.52.

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Mastruzzo, Ana Ligia. "The Mesoamerican Sound Heritage in Current Argentinian Music for Flute." In Socratic Lectures 8. University of Lubljana Press, 2023. http://dx.doi.org/10.55295/psl.2023.ii19.

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The theme of the discussion is the influence of Mesoamerican culture legacy in the Argentinian contemporary music for flute. The aim of the article is to analyse the piece ”Coyolyantototl'' (in Náhuatl language meaning place of action of the rattle bird) for Pre columbian flute, flute and recitation in Náhuatl (one performer) composed in 2021 by Federico Núñez and dedicated to Argentinian- Italian flutist Ana Ligia Mastruzzo. Also it was the aim of the article to find the connections between Mesoamerican legacy and the actual musical productions in Latin America. Keywords: Mesoamerican culture; music; Flute; Mexicas; Contemporary music; Prehispanic instrument
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Worland, Randy. "Flute measurements in a Physics of Music lab." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4895818.

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Luan, Xinmeng, Song Wang, Zijin Li, and Gary Scavone. "Acoustical Analysis of the Chinese Transverse Flute (dizi) using the Transfer Matrix Method." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001678.

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Lee, Jung-Chul, Jae-Young Kim, and Seungho Lee. "Development of a Flute Self-Learning Tool Using an Electronic Flute and PC Software." In 2013 International Conference on IT Convergence and Security (ICITCS). IEEE, 2013. http://dx.doi.org/10.1109/icitcs.2013.6717824.

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Ashtamoorthy, Anand, Pranav Prasad, Shashank Dhar, and Deepu Vijayasenan. "Frequency Contour Modeling to Synthesize Natural Flute Renditions for Carnatic Music." In 2018 International Conference on Signal Processing and Communications (SPCOM). IEEE, 2018. http://dx.doi.org/10.1109/spcom.2018.8724444.

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Reports on the topic "Flute and electronic music"

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Hickey, James. The Electronic Hardware Music Subculture in Portland, Oregon. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7470.

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Sun, Chenbing, Zhe Wang, and Yuening Dai. Music therapy for sleep quality in cancer patients with insomnia：A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2021. http://dx.doi.org/10.37766/inplasy2021.12.0128.

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Review question / Objective: The aim of this systematic review is to compare music therapy in terms of efficacy in cancer patients with insomnia disorders to better inform clinical practice. Condition being studied: The effectiveness of music therapy for cancer- associate insomnia is the main interest of this systematic review. Information sources: MEDLINE (PubMed, Ovid) The Cochrane Library, Web of Science, Embase and Electronic retrieval of Chinese Biomedical Literature Database (CBM), China National Knowledge Infrastructure (CHKD-CNKI), VIP database, Wanfang Database will be searched from inception time to date. In addition, the included literature will be reviewed and relevant literature will be supplemented.
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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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