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Journal articles on the topic 'Flute and electronic music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Răsvan, Cătălin. "Sound Banks – a Priceless Aid in Contemporary Music Writing." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 220–30. http://dx.doi.org/10.2478/ajm-2019-0012.

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Abstract Sound banks are collections of sound samples from musical instruments of the symphonic orchestra, traditional instruments from various areas of the world and sounds of virtual devices, such as synthesizers, which are increasingly present in contemporary musical creations. Sound banks are loaded in a device called sampler, which can edit and play them. The article describes analog and especially virtual samplers, complex devices that can store or play sounds from specific libraries of sound banks. It also defines and catalogs the main types of digital virtual instruments (that include traditional symphonic orchestra instruments, ones with modern electronic instruments/percussion instruments, and ethnic collections for various geographic areas. Our research on digital applications used in music writing relies on 20 years of experience. Currently, applications are valuable tools for composers and musicians, and for everyone in the contemporary music industry. In 2006, I created the first collection of sound banks made in Romania “The Essence of Panflute”, library containing sound samples 583, grouped in 33 virtual instruments. This is the most complex virtual version of the Romanian pan flute, played by the renowned Cătălin Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C. Canira Music Internațional. This collection of sound banks presents in minute detail the laborious process of recording and editing this virtual library. “The Essence of Panflute” has seen international acclaim, is distributed by the German company Best Service, one of the major companies in the world, was reviewed in the most prestigious magazine in this field, Sound on Sound, and has opened the door for current/future creators of music. We hope that it is only the beginning for our work in the research and development of digital virtual sound, which is a special category for the instruments in our country.

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12

Kaiser, Jeff. "Improvising Technology: Constructing Virtuosity." Cuadernos de Música, Artes Visuales y Artes Escénicas 13, no. 2 (July 6, 2018): 87–96. http://dx.doi.org/10.11144/javeriana.mavae13-2.itcv.

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In this paper, I explore how contemporary musicians using electronic technologies in improvised music conceptualize skill and virtuosity in their musical practices. This includes ideas about the role and agency of technology, learned and repeatable physical skill, skill acquisition, skill transmission, and the projection of learned skill from traditional instruments onto new instruments. The musicians’ use of idiosyncratic and individually constructed instruments—instruments with little or no history of a performance practice—makes this field a rich resource to examine how such conceptions are developed. Among the musicians I interviewed, the relationship between physical skill and virtuosity is particularly contested. While they frequently value such skill, they also connect it to perceived excesses of certain factions within Western art music, jazz, and other established musical performance practices where physical skill can be conflated with (or considered as the primary element of) musical skill, writ large. This perception of the excess and the prioritization of physical skill have led some interviewed musicians to adopt antivirtuosity as a reactive counter-ideology or to explore the less tangible concepts of hearing, creativity, imagination, memory, novelty, innovation, and even ideas of management as constitutive of musical virtuosity and skill. This paper is part of a larger ethnographic examination of a diverse cross-section of contemporary musicians who improvise with new, repurposed, and reinvented electronic technologies, including Robert Henke (one of the original authors of the software package Ableton Live), guitarist Nels Cline (Wilco), composer and flute player Anne La Berge, and trumpeter/composer Wadada Leo Smith.

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13

Bohn, James. "Margaret Lancaster: Future Flute Compact disc, Sound's Bounty SB 001, 2000; available from Sound's Bounty; electronic mail pegs@webspan.net; Web home.earthlink.net/∼malancaster/recordings.html." Computer Music Journal 26, no. 4 (December 2002): 100–102. http://dx.doi.org/10.1162/comj.2002.26.4.100.

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14

Soldan, Robin. "Music for flute." British Journal of Music Education 4, no. 2 (July 1987): 198–201. http://dx.doi.org/10.1017/s0265051700005970.

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15

O'Loughlin, Niall, Claude Dorgeuille, Edward Blakeman, and Nancy Toff. "Flute." Musical Times 128, no. 1733 (July 1987): 388. http://dx.doi.org/10.2307/964536.

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16

O'Loughlin, Niall, Ellen Taaffe Zwilich, Niels Gade, Jean Lambrechts, Martin Derungs, Robert Wykes, and Hendrik Andriessen. "Flute." Musical Times 133, no. 1797 (November 1992): 584. http://dx.doi.org/10.2307/1002595.

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17

Wang, Zhaosen. "Evolution of Chinese Bamboo Flutes and Flute Music from Six-Hole to Eight-Hole Flutes." Lecture Notes in Education Psychology and Public Media 42, no. 1 (March 14, 2024): 32–41. http://dx.doi.org/10.54254/2753-7048/42/20240622.

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The flute is the oldest known musical instrument in China, with the six-hole bamboo flute representing a traditional fixed form. In the context of todays diverse musical culture, the traditional six-hole bamboo flute faces significant limitations when handling various stylistic compositions. In contrast, the eight-hole flute incorporates strengths from Western musical culture, enabling it to both maintain traditional characteristics and perform modern musical works. This paper, based on experimental and literature research methods, aims to elucidate the impact of the evolution from the six-hole to the eight-hole bamboo flute on the development of Chinese bamboo flute and flute music. The paper is divided into three parts. Firstly, it provides an overview of the basic structures of the six-hole and eight-hole bamboo flutes. Secondly, through flute music analysis, it explores the advantages of the eight-hole bamboo flute and the developmental relationship between bamboo flutes and flute music. The third part involves a new perspective on the development of bamboo flutes and flute music, contemplating how to coexist more effectively with the diverse music of the world.

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18

Cipolla, Wilma Reid, Aaron Copland, and Arthur Foote. "Chamber Music with Flute." American Music 7, no. 1 (1989): 120. http://dx.doi.org/10.2307/3052070.

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19

Smith, Richard Langham, Rachel Brown, Mark Caudle, and James Johnstone. "French Baroque Flute Music." Musical Times 135, no. 1811 (January 1994): 42. http://dx.doi.org/10.2307/1002839.

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20

O'Loughlin, Niall. "Modern Flute." Musical Times 129, no. 1745 (July 1988): 349. http://dx.doi.org/10.2307/964755.

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21

O'Loughlin, Niall. "Flute Concertos." Musical Times 126, no. 1713 (November 1985): 677. http://dx.doi.org/10.2307/965056.

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22

O'Loughlin, Niall, and Nancy Toff. "Flute Guide." Musical Times 127, no. 1719 (June 1986): 338. http://dx.doi.org/10.2307/965080.

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23

O'Loughlin, Niall. "Modern Flute." Musical Times 127, no. 1719 (June 1986): 341. http://dx.doi.org/10.2307/965087.

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24

O'Loughlin, Niall, and Frans Vester. "Flute Repertory." Musical Times 127, no. 1720 (July 1986): 388. http://dx.doi.org/10.2307/965242.

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25

O'Loughlin, Niall. "Romantic Flute." Musical Times 129, no. 1741 (March 1988): 139. http://dx.doi.org/10.2307/965289.

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26

Boyd, Malcolm. "Baroque Flute..." Musical Times 128, no. 1737 (November 1987): 633. http://dx.doi.org/10.2307/965529.

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27

O'Loughlin, Niall. "Flute Miscellany." Musical Times 130, no. 1754 (April 1989): 220. http://dx.doi.org/10.2307/966478.

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28

Conlon, Paula. "Power and good music: The Indigenous southern plains flute tradition." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A109. http://dx.doi.org/10.1121/10.0026979.

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In traditional Indigenous southern plains culture, a young man could not talk to a young woman alone when they were not yet married. Instead, he would play his flute at the edge of the encampment in the evenings, and each young man had his own love song. In southern plains flute origin stories, power is attributed to good music. If a flute song achieves its intended goal of convincing the young woman to marry the flute player, one can assume the song would be considered “good.” But what criteria distinguish good from bad? Which elements typify a “good” flute song? What about the flute itself? Which features epitomize the quintessential flute? Another set of possible criteria in determining that quality is information about the flute player. In her chapter, “Culture and Aesthetics,” ethnomusicologist Marica Herndon (1980) observes the community-centered perspective of Indigenous North America. Our last set of criteria involves an assessment of the moral character of the flute player regarding service to their tribal community. This talk discusses the “good music” of two master Indigenous southern plains flute players—Belo Cozad (1864-1950) (Kiowa) and Doc Tate Nevaquaya (1932-1996) (Comanche).

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29

O'Loughlin, Niall, Heinz Joachim Zander, Corey Field, Ernst Kutzer, and Todd Brief. "Fancies for Flute." Musical Times 133, no. 1788 (February 1992): 75. http://dx.doi.org/10.2307/965852.

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30

Kemp, Lindsay, Soloists, London Classical Players, and Roger Norrington. "The Rapid Flute." Musical Times 133, no. 1792 (June 1992): 301. http://dx.doi.org/10.2307/966082.

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31

Smith, Catherine Parsons. "The American Flute." American Music 13, no. 1 (1995): 130. http://dx.doi.org/10.2307/3052322.

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32

O'Loughlin, Niall, and John Solum. "The Early Flute." Musical Times 134, no. 1799 (January 1993): 36. http://dx.doi.org/10.2307/1002634.

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33

Daw, Stephen, Bach, Gerhard Braun, and Siegfried Petrenz. "Bach for Flute." Musical Times 126, no. 1705 (March 1985): 163. http://dx.doi.org/10.2307/961674.

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34

Criswick, Mary. "Flute and Guitar." Musical Times 126, no. 1705 (March 1985): 163. http://dx.doi.org/10.2307/961677.

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35

ADDINGTON, CHRISTOPHER. "The Baroque flute." Early Music 13, no. 2 (May 1985): 331–35. http://dx.doi.org/10.1093/earlyj/13.2.331.

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36

Xiao, Jie. "Chinese Flute in Orchestral Music." Университетский научный журнал, no. 68 (2022): 184–88. http://dx.doi.org/10.25807/22225064_2022_68_184.

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37

Agi, Daniel, and Helen Bledsoe. "PERFORMING LUIGI NONO'S FLUTE MUSIC." Tempo 72, no. 285 (June 19, 2018): 5–19. http://dx.doi.org/10.1017/s0040298218000062.

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AbstractA performer of Luigi Nono's late works is often faced with crucial questions regarding interpretation and technical details. An important tradition has evolved in performing these works, nevertheless it is not always easy to find the necessary information to play them adequately. This article attempts to answer some of the technical and interpretational questions in the context of Das atmende Klarsein and A Pierre – Dell'Azzurro silenzio, inquietum. Our hope is that it will contribute to the discussion about authenticity and freedom of interpretation and provide flutists with practical information not found in the scores.

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38

Hadden, N. "Flute music familiar and unfamiliar." Early Music 36, no. 1 (February 1, 2008): 131–33. http://dx.doi.org/10.1093/em/cam125.

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39

Wrzeciono, Piotr. "Pattern Recognition in Music on the Example of Reconstruction of Chest Organ from Kamień Pomorski." Sensors 21, no. 12 (June 17, 2021): 4163. http://dx.doi.org/10.3390/s21124163.

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The chest organ, which gained popularity at the beginning of the 17th century, is a small pipe organ the size of a large box. Several years ago, while compiling an inventory, a previously unidentified chest organ was discovered at St. John the Baptist’s Co-Cathedral in Kamień Pomorski. Regrettably, the instrument did not possess any of its original pipes. What remained, however, was an image of the front pipes preserved on the chest door. The main issue involved in the reconstruction of a historic instrument is the restoration of its original tuning (temperament). Additionally, it is important to establish the frequency of A4, as this sound serves as a standard pitch reference in instrument tuning. The study presents a new method that aims to address the above-mentioned problems. To this end, techniques to search for the most probable temperament and establish the correct A4 frequency were developed. The solution is based on the modeling of sound generation in flue pipes, as well as statistical analysis to help match a model to the parameters preserved in the chest organ drawing. Additionally, differentalues of the A4 sound values were defined for temperatures ranging from 10 ∘C to 20 ∘C. The tuning system proposed in 1523 by Pietro Aaron proved to be the most probable temperament. In the process of testing the developed flue pipe model, the maximum tuning temperature was established as 15.8 ∘C.

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40

Konoval, K. K. "The flute art in Kharkiv: the performing and pedagogical traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 190–201. http://dx.doi.org/10.34064/khnum1-54.12.

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Logical reason for research. The flute art has its own history of development, which is marked by different traditions – the performing, composing, and pedagogical. The mentioned traditions outline the ways of the development of the flute art of the present and the future; they have a certain originality of geographical and cultural orientation. Today, the flute art is the subject of the audience demand, the performing and composing creativity, and has a solid repertoire in various styles and genres of both translations and original compositions in many instrumental compounds, ranging from solo to various ensembles and orchestras. This situation in music practice requires the theoretical understanding and generalization, including those in the projection of national and cultural traditions of different countries and regions. However, we can state that, at the moment, music science addresses the performance on the flute not systematically, mostly in a methodological direction. The Ukrainian flute art is closely related to the traditions of the flute music of Western European and Eastern European music art, but it also has its originality, which exists owing not only to musical (intonation, genre, and repertoire), but also to the historical, national-cultural or human reasons. Kharkiv, as one of the historical and cultural centres of Ukraine, has a rich musical history, and traditions of the flute art are its important component. Innovation. The presented article is devoted to the research of the Kharkiv flute art in the aspect of unity and interaction of the performing and pedagogical traditions. This aspect combines a number of historical, theoretical, and practical questions, and allows finding their answers related to the demands of both music science and music practice. We are talking about a number of aspects of the study of the flute art in the aspect of music regionalism, from organology and common European traditions of the flute art to the peculiar features of its development in Kharkiv in all the directions – the composing, performing, and pedagogical. Objectives. The purpose of the study is to identify the specifics of the performing and pedagogical traditions of the flute art in Kharkiv in the aspects of the continuity from European musical art and the identity of the Ukrainian, in particular, Kharkiv flute school. Methods. The main methods of the presented research are the historical one and the systematic one. The first one is related to the historical factors of the development of the flute art both in the European and Ukrainian historical cultural and artistic context. The second one allows one to represent the performing and pedagogical traditions associated with the flute art in their legacy and cultural and regional specification. Results and Discussion. Kharkiv is one of the most important historical and cultural centres of Ukraine. Its military purpose determined the nature of music playing (the regimental music of the Kharkiv Cossack Regiment), its instruments (primarily the wind instruments) and the genre direction. The relevant performing and pedagogical traditions of the Kharkiv musical culture are still marked today by the significant influence of the Kharkiv Wind Instruments School, known both in Ukraine and abroad. The flute art is an important and illustrative part of this historical process. The regimental music influenced the development of music education and training of musicians in Kharkiv – the opened schools for teaching children also had a "military profile" (from the nature of the student recruitment to instrumentation and repertoire). In the 18th-19th centuries the flute was spreading in the general education system in Ukraine. Many Ukrainian art and culture figures started their musical training with the flute and perfectly mastered the instrument; the spread of the flute in the musical life of the 18th century is mentioned in the writings by M. Zagaykevych, O. Schreyer-Tkachenko, I. Pyaskovsky and others. The musical activity of the national enlightener G. Skovoroda can be considered essential in this sense; the flute was his companion in many years of his legendary travels about Ukraine. The subsequent opening of schools and vocal-instrumental classes at Kharkiv College demonstrated the expansion of the character of the performing and pedagogical foundations of the flute art in Kharkiv, connected not only with military music, but also with the development of noble-house culture and theatrical and amateur practice. Flute performers were one of the first orders to European teachers. The flute was a part of practically all the variants of ensembles and orchestras of Kharkiv and Slobidska Ukraine. This stimulated the development of performing skills, music pedagogy, composing creativity. It is important that the most skilled flute performers in Kharkiv were, as a rule, the leading teachers and educators. In addition, the Kharkiv wind instruments performance and pedagogy were characterized by such a quality as multi-instrumentalism. At different times, the flute art in Kharkiv (both the performing one and the pedagogical one) was glorified by such artists as I. Vitkovsky, I. Lozynsky, K. Kestner, E. Prill, F. Kuchera, A. Boroznin, E. Krychevsky, G. Heck, D. Rykov, F. Prokhachev. Representing various national schools, they ensured the multicultural development of the Kharkiv flute art. In the 20th-21st centuries the activity of the teachers and students of Kharkiv National University of Arts named after I. P. Kotlyarevsky who were putting their forces into the creation of the local ensembles and orchestras played a decisive role in the development of the flute art in Kharkiv. Conclusions. The "genetic memory" of Kharkiv’s history as a city-military frontier was reflected in the performing and pedagogical traditions of wind instruments music, in particular, the flute art, in its performing (genres, repertoire, and performing stylistic) and pedagogical specificity. The further development of the flute music in the Kharkiv region has enriched these traditions of European music with its diverse repertoire in all genres and styles, but the Kharkiv specificity remains its recognizable core. The summarized results of the presented article indicate that the selected aspect of the study, related to the characteristic of the performing and pedagogical traditions of the flute art in Kharkiv through the prisms of continuity and interaction, is the link that integrates the theoretical and practical directions of studying the art of the flute playing into the whole complex of knowledge, that helps to understand the universal and specific in the processes of the development of the flute art in different aspects – the historical, cultural-regional, and artistic, etc.

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41

O'Loughlin, Niall. "Classical and Romantic Flute." Musical Times 126, no. 1710 (August 1985): 470. http://dx.doi.org/10.2307/964328.

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42

Schwartz, Elliott. "Doriot Anthony Dwyer, Flute." American Music 16, no. 2 (1998): 249. http://dx.doi.org/10.2307/3052576.

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43

Bowers, Jane. "Mozart and the flute." Early Music XX, no. 1 (February 1992): 31–42. http://dx.doi.org/10.1093/earlyj/xx.1.31.

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44

Erber, James. "Flourish for Solo Flute." Perspectives of New Music 31, no. 1 (1993): 78. http://dx.doi.org/10.2307/833040.

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45

Didomenica, Bob. "Thema Enigma (for Flute)." Perspectives of New Music 24, no. 2 (1986): 257. http://dx.doi.org/10.2307/833228.

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46

Novosadova, Anna, Nataliia Mozgalova, and Yaroslav Novosadov. "THE FIGURE OF G.P. TELEMAN AS ONE OF THE FOUNDERS OF THE FLUTE REPERTOIRE OF THE BAROQUE ERA." Baltic Journal of Legal and Social Sciences, no. 4 (January 17, 2024): 36–41. http://dx.doi.org/10.30525/2592-8813-2023-4-5.

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Abstract:

The purpose of our article is to determine the role of flute music in the work of one of the most famous composers of the baroque – G. P. Teleman. The methodology of the research consists in the use of a historical approach – when defining the genres of flute music, analysis – the definition of typological features, a comparative method that allows comparing researchers' opinions on the genre features of Teleman's work. The development of instrumental music was closely related to the development of flute performance. Therefore, it is not surprising that composers pay attention to this instrument. Taking into account the artistic content of G. P. Teleman's compositions, we can highlight the following leading genre varieties: fantasies, sonatas, concerts, duets, quartets, partitas, suites. These and other works of Telemann were written both for solo flute and its ensemble combination. These works became the basis of the development of the flute repertoire.

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47

Hadden, N. "Flute music from the Bach circle." Early Music 38, no. 2 (May 1, 2010): 300–302. http://dx.doi.org/10.1093/em/caq020.

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48

Gradwohl, David M. "Review: Changes: Native American Flute Music and Cycles: Native American Flute Music by R. Carlos Nakai." Explorations in Ethnic Studies ESS-7, no. 1 (August 1, 1987): 60–61. http://dx.doi.org/10.1525/ess.1987.7.1.60.

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49

Önal, M. Ayça. "A Research on the Content of the Flute Education Course Carried out in Faculty of Education Music Teacher Education Departments and Faculty of Fine Arts Music Departments in Turkey." International Education Studies 15, no. 5 (September 22, 2022): 59. http://dx.doi.org/10.5539/ies.v15n5p59.

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One of the most important areas of music education is instrument education. Vocational music education, which is within the scope of music education in Turkey, is carried out in Education Faculties, Fine Arts Faculties, and State Conservatories in order to provide individuals with music as a profession. In these institutions, flute education is also included within the scope of “Individual Instrument” courses, where many instruments are available. In the research, the opinions of the lecturers working in different institutions were taken regarding the content of the flute education courses conducted in the Department of Music Education of Fine Arts Education Department and the Music Department of the Faculty of Fine Arts in Turkey. The research is important in order to show whether the students studying flute have achieved the goals of the flute education program, which they must earn in the four-year period, and that the students’ success in this regard can be increased. In this context, interview questions developed by the researcher and receiving expert opinions were applied to the study group, and the data obtained were tabulated and presented using the content analysis method, one of the qualitative research methods.

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Lasocki, David, Raymond Meylan, Alfred Clayton, Hans-Peter Schmitz, Antoine Mahaut, and Eileen Hadidian. "The Flute." Notes 47, no. 4 (June 1991): 1150. http://dx.doi.org/10.2307/941645.

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