Dissertations / Theses: '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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Lee, Terry Alan. "Grancloud, a real-time granular synthesis application and its implementation in the interactive composition Creo." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12151.

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For flute, violin, French horn, piano, and live electronics. Includes graphic notation for computer. Includes performance notes. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 93-94).

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Bukvic, Ivica Ico. "Tabula Rasa." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1131065629.

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

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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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Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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Pearson, Eleanor M. "What Every Flute Teacher Needs to Know About the Body: A Handbook Applying the Principles of Body Mapping to Flute Pedagogy." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392657827.

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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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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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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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Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

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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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Gallagher, Daniel Ryan. "Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601776064413.

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Owen, Grace. "For the Music." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/1067.

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For the Music is a collection of creative nonfiction essays chronicling nine years of my life from when I first discover music to playing in my high school marching band. The theme of the collection is coming of age, with each piece highlighting a particular lesson I struggle to learn based around my experiences with band. Such situations include overcoming shyness, accepting change, and discovering how to work with others.

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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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Fair, Demetra Baferos. "Flutists' family tree in search of the American Flute School /." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054645874.

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Thesis (D.M.A.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xii, 914 p.: ill. Includes abstract and vita. Advisor: Katherine Borst Jones, School of Music. Includes bibliographical references (p. 913-916).

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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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Yorita, Ron. "Using Spectral Analysis to Evaluate Flute Tone Quality." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1308.

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Many skilled flutists place a high priority on "good" tone quality, or timbre. Timbre can be defined as the audible difference in character that a listener perceives for two notes played at the same pitch. Different timbres are determined by the combination and balance of harmonics that comprise a note. Unlike pitch and rhythm, timbre is difficult to objectively quantify. This project explores (1) how tone quality is described by skilled flutists, (2) whether the harmonic spectrum has some correlation with tone quality, (3) whether certain harmonic spectra are preferred, or considered "good". Thirty-one flutists ranging from high school students to professionals were recorded. A set of samples was used in surveys and interviews to capture descriptors and ratings of tone quality. All of the recorded samples were analyzed using application programs, Harmonic Analysis Tools (HAT), created for this study. HAT uses digital signal processing techniques to produce "spectral signatures". The signatures consist of the harmonic content, pitch, and amplitude of a sample. In the future, with further development, HAT may be a useful tool for musicians for tone development in the practice room. The outcome of this research is a baseline set of some often used descriptors. In addition, results showed some correlation between harmonic spectra and descriptors. There were also trends in preferences with respect to certain spectral characteristics. An unexpected finding was that University students showed divergent timbre preferences compared to highly experienced flutists.

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Lunte, Sandra K. "A pedagogical analysis of selected chamber works for the flute by Carl Nielsen." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861378.

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Carl Nielsen, considered by some to be Denmark's greatest composer, has had great influence on twentieth-century Danish music. Nielsen wrote several chamber works that include the flute, three of which were examined in this study. These pieces, "The Fog is Lifting" (for flute and piano or flute and harp), "The Children are Playing" (for flute alone) and "Faith and Hope are Playing" (for flute and viola) are part of the incidental music for the Helge Rode patriotic drama "The Mother." "Fantasy Pieces, op. 2," originally written for oboe and piano, was transcribed for flute and piano by James Galway, and is also discussed in this study.The purpose of this research was to conduct a detailed examination of these works with regard to pedagogical, performance and compositional concerns. Information was gathered through the examination of written materials about Nielsen, results of questionnaires sent to selected flute pedagogues, results of coaching sessions with three flutists and comparisons of three recordings. Questionnaires revealed that many pedagogues were not familiar with the pieces in question. Varying responses were provided to questions regarding the level of proficiency needed to study these pieces, appropriate situations in which to program the works, why the pieces are not often programmed and pedagogical concerns. Coaching sessions revealed potential pedagogical problems, while recordings provided information regarding differences in interpretation. Compositional traits of Nielsen are discussed, as are additional pedagogical suggestions for students with little experience.
School of Music

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Fourla, Vasiliki. "Theodore Antoniou| The Greek components of his music for flute and an analytical presentation of his work "Lament for Michelle," for solo flute." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10111171.

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Antoniou’s work for solo flute Lament for Michelle inspired my research. I will further analyze this piece in order to shape its historical background and the tradition of the lament, which remains vital in twentieth century Greek society.

Combining musical analysis and biography, I aim to prove how Theodore Antoniou utilized a plethora of nationalistic elements in his works for flute. In addition, I will point out these elements and explain how and why they are considered Greek. Overall, this paper will contribute to the understanding of Greek composers today and hopefully will motivate scholars and performers to do for further research into Greek music.

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Charles, Nicole Marie. "A Supplementary Book of Chinese Music for the Suzuki Flute Student." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275340340.

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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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Gregory, Jason M. "Music for flute and piano and a script for violinist." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3458.

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Music for Flute and Piano is a determinate composition for these two instruments. The technique used consists of serial saturations of pitch and rhythm as a starting point; however, the end result departed from strict adherence to serial procedure toward an intuitive variation of an 'A' and 'B' theme. A Script for Violinist incorporates determinacy and indeterminacy into a score; it is an exploration of violin idioms made 'in the moment,' capturing the many possibilities of bowing, fingering, and timing that become individualized by the performer.

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Cornsweet, Amy 1956. "Handel's use of flute and recorder in opera and oratorio." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291499.

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Handel uses flutes or recorders in 125 pieces in his operas and oratorios. Flutes appear most frequently in the keys of E minor and B minor, and the relative major keys of G major and D major, and recorders in the keys of F major, B♭ major, and the relative minor keys of D minor and G minor. Other keys are used primarily for special reasons, especially those related to the affections. Most pieces including flutes or recorders are pastoral songs, lovesongs, and laments. Flutes and recorders double other musical lines more than 50 percent of the times they appear in the operas, and in the oratorios, they double about 35 percent of the time. Flutes are independent of all other parts about 15 percent in the operas and 17 percent in the oratorios; recorders about 28 percent in the operas and 15 percent in the oratorios. In the remaining pieces, flutes and recorders alternate between independent use and doubling other parts. In all but a handfull of pieces Handel uses only alto recorders or transverse flutes in D. On rare occasions lie specifies a higher or lower member of the flute or recorder family.

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Lopez, Matthew Santos. "Aaron Copland's Use of Flute in His Late Style| The Case of Duo for Flute and Piano and Threnodies I and II." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13426828.

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Aaron Copland is one of the best-known composers from the United States and is often credited with creating a distinctly American style. As a 20th Century composer, he departed from traditional classical compositional techniques and made some contrasting choices of medium when considering ensemble. Copland is recognized for his writings for Orchestra, Film, Theatre, and Ballet, but also wrote chamber works that are both thoughtful and creative. The majority of his chamber works consist of pieces written for piano and voice, however he also used strings, clarinet, and in his later works, flute.

His last decade of works including one piece for orchestra, three piano pieces, and three chamber works that are flute centric. Duo for Flute and Piano and Threnodies I and II for Flute (Alto Flute) and String Trio were written within the span of three years, and are all written as memorials for others. The commonality a of flute in these pieces and in such close compositional proximity is an oddity when you consider his instrumental tendencies. This paper will examine Copland’s compositional choices for Duo and Threnodies I and II and will consider the connection between writing memorials for others and his own mortality as influencing this late style.

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PERLOVE, NINA MARGARET. "ETHEREAL FLUIDITY: THE LATE FLUTE WORKS OF AARON COPLAND." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053453216.

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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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Smith, Kristen Lia. "THE INFLUENCE OF FOLK AND POPULAR MUSIC ON TWENTIETH-CENTURY FLUTE MUSIC OF BRAZIL." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin976030455.

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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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Mare, Minette. "Influential factors in the application of flute vibrato." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/1718.

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Thesis (MMus (Music))--University of Stellenbosch, 2008.
This thesis provides an overview of different aspects of the application of vibrato on the flute. Although it is a compilation of different viewpoints, it does not offer a conclusion as regards the ‘correct’ application of vibrato, due to the subjective nature of this phenomenon. The intention is that the reader will be able to reach his or her own conclusions and form new opinions regarding this subject. The focus is largely on the comparison of the production of vibrato on the flute with its production on other instruments. The aim is to examine the different choices involved in the production of vibrato when the flute is part of an ensemble and when it is a solo instrument. By learning more about other instruments’ timbres and production of vibrato, it enables flautists to adapt to different timbres in order to form sonorous ensembles. The physiological and scientific aspects of vibrato are also explored with the view to equip flautists with this knowledge. Thus, flautists will be able to listen to and analyse from a more critical and informed perspective how they themselves use vibrato and how other flautists use it. The main goal of this thesis is to provide enough information, opinions, studies and statistics to enable a flautist to make an informed decision concerning their choice and application of vibrato.

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Witmer, Ruth M. "Popular virtuosity the role of the flute and flutists in Brazilian choro /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0019960.

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Murray, Ryan M. "The development of the eighteenth-century transverse flute with reference to J. S. Bach's "Partita In A Minor" for unaccompanied flute." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528004.

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This project report discusses the development of the transverse flute in the eighteenth century with reference to J. S. Bach's Partita in A Minor for unaccompanied flute. Though still relatively new, the transverse flute of this period rapidly developed to become the new standard over the recorder due to the new opportunities it provided to composers. The works of Bach serve as a prime example for showing the instrument's increasing popularity, and his motivations for creating the Partita in A Minor reveal the influences of many composers and performers of the transverse flute, such as Pierre Buffardin and Johann Joachim Quantz, on the instrument's developing idiom throughout the century.

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Ford, Elizabeth Cary. "The flute in musical life in eighteenth-century Scotland." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7351/.

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All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.

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Parker-Harley, Jennifer Carol. "Magic and Evocation in the Cinq Incantations pour Flûte Seule by André Jolivet." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116251581.

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Dissertations / Theses on the topic 'Flute and electronic music'

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